Wincy Kung
- Anna Lilli Garai
- Sep 26
- 4 min read
Wincy Kung’s practice blends illustration and spatial design to tell stories about heritage, ritual and collective memory. Drawing by hand, modeling in 3D, and working digitally, she builds visual narratives that explore how cultural traditions take shape across different places and generations. Her recent works, including “Living Heritage: The Hanfu Parade on London’s Lantern Street” and “Bamboo Craft Festival,” reimagine community rituals and craft-based knowledge through scenes that combine architecture, costume and public space. Based in London and Hong Kong, Kung often works closely with artisans, educators and community members to create projects that open up space for reflection, dialogue and shared cultural experience.
Q: Your projects often bring architecture and illustration together. What draws you to working at that intersection?
A: I have always been fascinated by the way in which spaces and environments carry stories and influence our lives. My studies in environmental and interior design inspired me to explore spatial narratives, and my interest in illustration, art and design enables me to express ideas through drawing. This opens up new possibilities for storytelling and engagement. I also have a deep appreciation for traditional craftsmanship, heritage, cultural traditions, festivals and practices. I enjoy developing projects that preserve and revitalise culture through architecture, illustration, art and design.
Q: In "Bamboo Craft Festival" you reimagine Hong Kong’s traditions in a city space. What part of that project stayed with you the most?
A: "Bamboo Craft Festival" deeply influenced my way of thinking and reshaped my perspective on both design and cultural heritage. The project opened up possibilities for cross-disciplinary integration, bringing together drawing, making and spatial design to create new solutions. It demonstrated how design can serve to preserve and revitalise traditions sustainably, providing educational value and raising public awareness of cultural preservation, while also fostering connections between craftsmen and the community.
It also helped me to find my voice as an artist, enabling me to use my work to spark conversations, share my passion and address contemporary social issues through the context of cultural heritage and community.
Q: "Living Heritage: The Hanfu Parade on London’s Lantern Street" shows tradition placed inside a global city. How do you think location changes the way heritage is experienced?
A: The Hanfu Parade in London celebrates tradition within a global city where diverse cultures and voices meet. When heritage shifts into this context, I believe it becomes more than a ritual; it transforms into a way of celebrating cultural identity abroad and facilitating cross-cultural dialogue. The location adds new layers of meaning, where heritage is both continued and adapted. For me, this experience highlights how cultural practices can be shared and celebrated in more diverse and inclusive ways. Seeing how traditions can remain alive by becoming more accessible, adaptable and connected to contemporary communities inspires me.
Q: You work with hand drawing, 3D modeling and digital illustration. How does shifting between those tools shape the final image?
A: Shifting between hand drawing, 3D modelling and digital illustration involves shifting between different ways of thinking. Hand drawing enables me to capture initial sketches, ideas. 3D modelling helps me understand structure, space and perspective. It challenges me to think spatially, explore depth and form architectural elements. I consider the relationship between space and human interaction. Digital illustration enables me to experiment, refine and layer, creating images that are more dynamic and adaptable. By shifting between these media, I aim to create a dialogue between tradition and innovation. Each tool inspires me to view the project differently, and inspire me to create artwork with contemporary interpretation.
Q: In "Reimagining the Chinese Seal in the Spring–Autumn Period" you turned an ancient object into a spatial story. What interested you about the seal as a starting point?
A: Earlier this year, when I went back to Hong Kong, I had the honour of meeting Master Ng Kam Chun, a Chinese seal artisan. Master Ng is an experienced seal carver and his shop is filled with stones and hand-carved seals that reflect his deep passion for traditional craftsmanship.
Inspired by our conversation, I created an illustration of his shop and became increasingly interested in this craft and in learning how to carve seals. This inspired me to explore the history of seals further, and I began studying and reimagining the history, origin, usage and techniques of these ancient objects, creating artwork that sparks dialogue and storytelling about Chinese seals.
In the future, I plan to develop this project into a series of illustrated stories that explore the cultural significance of seals, how they are made, and the living heritage.
Q: Collaboration seems to run through your projects. What do you enjoy most about building work together with others?
A: I enjoy collaboration because it opens space to explore, share, and exchange stories. Working with others brings fresh perspectives, skills, and cultural voices.
For instance, in "Carving Memory: Master Ng’s Seal Shop," I had the honour of collaborating with Master Ng. His generosity in sharing his expertise and stories not only inspired my works, but also enhanced my appreciation of cultural heritage.
I also value the reflective moments that collaboration creates. Hearing people's stories about their heritage helps me see and reflect differently, encouraging me to think more deeply about the connections between identity, tradition, and materials, whether through objects, clothing, festivals, or beliefs. In my "Exploring Heritage" workshops, participants transformed cultural memories into masks. For example, Japanese soba noodles eaten on New Year’s Eve, the river dividing Buda and Pest. These personal reinterpretations opened up dialogue and demonstrated how heritage can be preserved and celebrated collectively.
I particularly enjoy how collaboration fosters a sense of belonging and facilitates the exchange of knowledge, inspiring both my professional practice and my role as an artist-educator.
