Hong Kong street artist Lousy on bringing travel inspiration to his work

Hong Kong street artist Lousy brings his lost in Tokyo memories to Belowground, where his newest drawing series Towers Are Giant Fingers Pointing To Heaven is exhibited. He shares his inspirations with Abby Li  

The city is familiar with Lousy’s signature “kiss face” in bold, almost Keith Haring-esque strokes after it surfaced everywhere: on the streets, in M+, Art Central, and the artist’s collaborations with Casetify and Adidas. To Lousy, art is all about communication, an efficient one that distils ideas using symbols.

Despite being born and raised in Hong Kong, he finds his creativity best inspired and sustained by travel. For Lousy, Japan is not only his favourite country to visit but also the place where all his best-loved things are created: manga, anime, and J-pop music. The significance of this destination on him is apparent, since it is the whole reason behind his latest installation.

Lousy’s new show serves as a pseudo diary of sorts. Mesmerised by the skyscrapers in Japan, he decided to utilise what was readily available in his hand: free metro maps. Embracing this new medium, he unfolded his Tokyo memories with some simplified strokes and a cheerful palette, in Lousy’s signature style. As we sit right across the exhibition, he talks about what meant the most to him as an artist. 

How does graffiti continue to be an important medium for you to convey what you are trying to express?

I definitely do stuff on the street, but I always think I can’t consider myself a graffiti writer because my friends are way more hardworking than me. They’re more “graffiti” than me. To me, painting on the street is just one of my channels to express myself. I see it that way. But I like the fact that drawings on the street are very egalitarian. It’s for everyone and no one at the same time – it’s for myself. If you want to see it, you see it. That is what really attracts me.

Congratulations on your first show of the year, “Towers Are Giant Fingers Pointing To Heaven”. Can you explain a little more about the theme?

It’s inspired by travelling. This time just so happens to be the Tokyo trip. The interesting thing is I’m usually very interested in organic shapes and forms like, you know, animals and living things. But this time, when I was in Tokyo, I saw the towers. I was very mesmerised by the giant structure at night: it’s kind of sacred and a bit scary at the same time. I just thought it looked… amazing. It’s a different type of density when compared to Hong Kong. Hong Kong is usually like a chopstick holder. Very thin, crazy thin. I was just like these towers are actually amazing. And they were kind of like  fingers with multiple rings – when the light dots hit on them, they looked like rings. That’s just part of my imagination. And I feel like it’s a poetic expression for this show.

Do all the pieces carry the same message, or do they each have an individual story? If they do, can you give me an example?

If you see the series as a whole, it’s kind of like a pseudo diary. You know, maybe, it’s about an Izakaya night out getting drunk. You see a random shoe on the floor, you see cats, you walk past a kitsune shrine – it’s all part of the trip. I wouldn’t say it’s a hundred percent fact. It’s not, it’s imaginative. But it’s sort of loosely based on a diary of this trip. I think the interesting thing is, I was lost in the station and saw some train maps and just found them really amazing and took a bunch of them and didn’t know what to do with them. All of a sudden I was like, yeah, why not just draw something about this trip on them?

What is your favourite medium to work with?

I like painting on bodies, living things. I like the perspective and the dimensions of it because it’s basically a sculpture, a breathing thing. You interact with it. I think whatever paper, canvas, blah… is fun as well. Everything goes for me to be honest. Just from my experience, painting on bodies is definitely the most interesting.

Is travelling usually a source of inspiration for you? What other sources spark your creativity?

Everyone loves travelling right? And I think it’s important to clear your mind. It’s just perfect: if you’re a computer,  it cleans up your RAM so that you have a new perspective on things. I love that. When I’m not travelling, I watch a lot of manga and anime. I love all the otaku stuff. And I would say, pseudo-religious… pseudo-religious spiritual stuff. So it’s a combination of all those elements I’d say.

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What type of emotional values do your arts usually carry?

I try to be uplifting but you know sometimes you can’t control that. I’m just a human being at the end of the day. But for this series, I see it in a little spiritual way. Because I think all the structures: the towers or shrines or things like that, they’re kind of spiritual for me. But at the same time, I like distilling them into symbols. So I wanted it to be like a tribal thing, a tribal thing where everyone gets together. It’s a sense of voyage, a getaway.

Let’s put it this way. When it comes to communication, when I’m doing stuff on the street, it should be very precise – the emotion needs to be very clear cut. But when it comes to this (the show), you have it here (belowground). I try not to impose my emotions on it; instead, I’d like the viewers to pick their own emotions since it’s all very personal. Maybe you see my drawing and you’re like, oh my god, it reminds me of the time I got drunk and broke my ankle; and another person has a different story, you know, you know, it’s just all experience.

You described art as a way of communication. Which component of this communicating process means the most to you?

I think my feelings are the most important. I’m doing what I’m doing for myself. If people love my work, amazing, thank you for that; but if you don’t, it’s ok. At the end of the day, it’s one of those things: if you like my work, come join me.

How did you discover your unique style?

I think the interesting thing was, I used to work in a design company. Back in the day, it was always about the efficiency of communication. I think that just seeped into my work. But you never know, maybe my style will change in the future again, and maybe I will do some abstract things. That will be just a different way of communicating. For now, l’d like to keep my expression precise and instant, but the emotions behind are open for people to interpret.

Being an artist born and raised in Hong Kong, what impact did the city have on you?

I think because I’m from here, I don’t think it’s that special. Do you see what I mean? I don’t really see what the fuss is about. Everyone in Hong Kong is just like the “boom, boom, boom, let’s go” type of person. I’ve never thought about how Hong Kong’s influenced me. Honestly, that is precisely the influence: If you grew up here, you are already subconsciously part of it. I do like experiencing different cultures, to be honest, checking out what is going on elsewhere. Hong Kong is really small, if you are hip to something, you probably already know. So it’s always refreshing to go elsewhere.

What was your favourite destination that you visited?

I love Japan. I grew up with all the amines, J-rock, and J-pop stuff, so I always have a soft spot for that. Seoul is cool, Shanghai is cool, Shenzhen is fun… It doesn’t have to be somewhere far, you know, it doesn’t have to be like I’m going to Antarctica. It could be anywhere.

What advice do you have for the young artists starting their creative careers here?

I always think I’m not in a position to give advice. But it’s all about knowing your lane. Check out the other side of the coin, the business side of it. If it’s your thing, go for it; if not, there will be a way to make it work.

If you have a day free from work, how would you plan it?

I love staying in, reading my manga, and watching my anime shows. If the weather is nice, get some sunlight. I just want a chill day. Even when I’m doing art, it’s not really work for me. It’s just me trying to get my feelings out. You cannot help it.

What’s next for you?

Nothing much planned, but keep an eye out. Follow my Instagram. You will see. 

What: Towers Are Giant Fingers Pointing To Heaven, drawings by Lousy
Where: Shop 3 Belowground, B/F Landmark Atrium, Central
When: July 13 to 26

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