I was LIVE on TV! Again 👀 Pls don't be sick of me yet lol

I was interviewed on live TV about my creative and volunteer projects, particularly a meeting place I started called “Das Blaue Haus” (“The Blue House”).

If you’re confused about why all of this is happening, please refer to this post.

If you are interested in watching the interview and can understand German, click on the following link — or be an absolute trooper like my mum and watch it multiple times even if you don’t understand anything <3

Summary of points discussed in the interview:

• Why I started “Das Blaue Haus”

• Community events that take place in Das Blaue Haus and why I find face-to-face encounters important for our democracy, in an increasingly digitised and polarised/privatised world

• The fact that I LOVE Karaoke!!!

• My life growing up in Hong Kong in a multicultural environment, German school etc.

• Where I feel more at home, Hong Kong or Germany? Both!

• How I went from living in Hong Kong, studying in the U.S. and then living in some small-ass town (basically) in Germany?! And what was it like adjusting?

• The importance of having friends and a community around you <3 especially when you newly move to a place

• Why I still draw by hand but then use digital tools

• My watercolour piece “Hot Pot”, the inspiration behind it; the host got to pick his favourite image and this was the one. I explained that I was inspired by a birthday dinner where we went to a hot pot restaurant together. I remember us sitting around the table, all diverse and lively and somewhat chaotic and it being a memory I wanted to convey

My art was on TV! 👀 And I have many, many feelings about this...

Last month, I was interviewed about my art, my work as an illustrator, my life as well as my community project, “Das Blaue Haus” (“The Blue House”). The interview appeared on SWR Aktuell Rheinland-Pfalz, a regional news broadcasting channel in Germany.

Filming took place in my home studio.

This may be coming out of left field for some of you, so to give some quick context: I started Das Blaue Haus last year in January as a response to increased loneliness and polarisation in our society, as well as vacancy in our inner city in Traben-Trarbach (the place where I currently live).

Das Blaue Haus is essentially an extended living room of sorts, intended as a “third space”, a term coined by American sociologist Ray Oldenburg which refers to a social setting outside of family and work life. I have organised a couple of meet-ups and events here, including creative/crafting “co-working” sessions, board game afternoons/nights, and more recently: karaoke!

Never could I have ever imagined that the enthusiasm for my project would build up so quickly! One thing led to another, and I was first interviewed for a radio broadcast last year in December. At this point in time, the focus was purely on Das Blaue Haus.

Then in March this year, I was interviewed by a newspaper in Trier. This is where the focus started to shift a little bit, still reporting on the community project, but with significant focus on my illustration, and in particular, my biography. I really, really did not see that one coming!

Then, seeming to build up on all of this, it all came to the TV interview, with my abbreviated life story and art taking centre stage. Das Blaue Haus is still mentioned, but it is a shorter part of the interview. You can watch the segment here, in German only, at minute 23:20:

If you’re on Instagram, you can watch a little snippet of this interview with English subs here.

Needless to say, I feel incredibly overwhelmed AND OVERCOME WITH GRATITUDE BY all of this.

My immediate instinct is to not take credit for any of this. Because: you know me! But seriously, none of this could have happened without a significant amount of luck and privilege. I try to have consideration for that, while not letting it discredit my ideas completely.

“Meeting places are extremely important for our democracy“

I feel so fortunate to be part of such a supportive and enthusiastic community, always there to lend a helping hand and spread the word. The people around me remind me that it’s ok to ask for help, and that it’s mostly much better to organise as a group. This is what community is all about!

I also feel… vindicated. And like the universe plays really weird tricks on you sometimes.

Because literally a week before I was asked to be on TV, I had a portfolio review where I was essentially told that my messaging wasn’t clear, that I seem “all over the place”.

And this, really, is what I have been told my entire illustration career. Strong sense of style, but “too free” and “not marketable enough”.

This song lol!! Is literally me! Emo pop punk kids of the early 00s rejoice 🤘🏼

The reviewers and experts I have consulted with have had the best intentions. Just doing their job, sharing what they know. And definitely, there is always room to improve!

But perhaps I have taken these words of advice too unsalted thus far. Maybe I CAN trust my point of view and direction a little more. Even if my path as an illustrator looks a little different than those of others.

Serendipity smacking me on the head.

I never planned for my art to merge so blatantly with social advocacy in real life. Sure, I always made it a point to stand for diversity and equality in my art work, but me doing voluntary work was just me doing voluntary work. A separate thing. One thing was not meant as a platform for the other, and vice versa.

Illustration and brochure Design for Das Blaue Haus © Kat J. Weiss 2026

Perhaps it was inevitable. I used my know-how as a designer and illustrator to create brochures and posters for my project. I centred events around creativity. I yearned for community in my pictures, and then started truly living in them.

Perhaps it was all meant to flow into each other eventually, an artistic purpose meeting a life goal.

Nostalgia sneaking up on my heart.

My upbringing and education is somewhat more eclectic than what most people (without migrant backgrounds) experience here in Germany. Third-culture kid stuff. It has been a big focus in these media pieces. What was growing up in Hong Kong like, studying in America, and then moving to a small town in Germany? Culture shock?

I cannot underscore enough how immensely fortunate I have been to be given and afforded such a colourful life. It seems weird to admit but I was embarrassed by it for a long time. I did not feel that I deserved it, and I did not want people thinking I wasn’t checking myself. I tried very much to focus on the present, and who I could become. As a result, I forgot about the many magical moments in my past: finding your “gang” during the first years of university, toughing through all-nighters together, moving abroad to another campus, finding your gang again.

An photo of me in a Hong Kong tram by one of my oldest friends, Marisa. We did a bunch of “artsy” film photo tours like this, pre-university days!

Attending a Bob-Ross-Paint-Along birthday party (where someone ends up scrawling “THERE IS NO GOD” over their landscape), going to many, many DIY, ramshackle thrown-together house gigs, listening to your friend sing the most beautiful song in a dark kitchen corner and it somehow filling up the entire room and touching you for life.

I could go on forever. The point is, being asked all these questions about my past has brought all of these memories back, memories I tried to tuck away but really should put up on an altar for all they have made me.

A side note on style, inspiration, and the nuance of identity

In the interview, there is a snippet of me describing my illustration style: that it has East Asian aspects to it, in it’s flatness, verticality, and crowded sceneries — compare with Thai mural paintings or Japanese woodblock printing for instance.

The reality is much more nuanced than that, but I don’t fault anyone for “misrepresenting” me, after all, it was merely a 2,5 minute long segment!

The entirety of what I “actually” said is as follows: that I see myself as an artist combining both East and West, which is how most of my upbringing was. I am very much inspired by detail-obsessed Art Nouveau/Jugendstil/Vienna Secession artists, who looked to Japanese woodblock printing for inspiration.

So in a way you could say I am closing the loop?

My watercolour paintings… East Asian inspired? Maybe.
© Kat J. Weiss 2026

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To add to that, I spent many happy childhood afternoons drawing big crowded pictures at my friends’ house. We would draw funny characters, make jokes about our characters, sing songs about our characters. I feel so appreciative of how we were encouraged to live and collaborate creatively, from early on. I have no doubt that my tendency to draw crowded sceneries probably stems in part from those experiences.

What I’m trying to say is that influence and inspiration are complicated, and you can never just point to a single origin, even if in me you may see an “mixed-Asian” person and automatically think “Asian-influenced”.

Reality is much more complex than that! And I refuse to be put into one box.

I’m grateful for this moment of attention. I’ll ride this wave while I still can.

Who knows how long this will last? Or when DUN DUN DUN my big downfall will come? Look at me catastrophising already. I’m trying my best to stay humble, but can’t I just exist in this excitement for a bit?!

For what it’s worth, perhaps this will give me a moment to look back on, something to hold on to on a rainy day, for that bit of confidence and courage to continue making my art. When I need it.

My Illustration Highs and Lows of 2025!

2025 was all about staying local, small commissions and self-initiated projects. I often had long turnover times and could work at projects at a comfortable pace.

The changing landscape of communication arts, becoming more and more swept over by (ugly) A.I. creations, feels really unsettling and discouraging right now. One thing giving me hope is that I have an unwavering belief in myself and in my identity as an artist. Of course, it helps when other people see that, too. 

So for those who continued to believe in me, thank you. 

HIGHS

Bamboo Scaffolding

“Bamboo Dreams”, watercolour, acrylic ink, colour pencil on paper. 2025.

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In May I joined my art collective, PULPXIX, for a group exhibition called “Out of Scale”. I made a collaged water colour piece all about bamboo scaffolding, as at the time, there were plans for bamboo scaffolding to be phased out in Hong Kong. 

I challenged myself in terms of scale, editing, and presentation. You can read about the process here. 

Of course, at the time I could not have known about the tragic Tai Po fire that would happen later in November, and the debates that followed. I’m not sure about the future of bamboo scaffolding, but to me, they will always be a cultural icon, and a reliable resource that had been used for many centuries. 

If you are feeling charitable and able, here’s a list of ways you can support the survivors of the fire. 

Risograph inspired food illustrations

Selected risograph-style food illustrations. 2025 © Kat J. Weiss

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Back in April my friend Jen commissioned me to illustrate 25 recipe cards for a wedding gift. I followed this tutorial by Tom Froese to recreate the effect in Adobe Photoshop.

For those not in the know: Risograph printing is like screen printing, but using a machine that looks like an office printer. Colours used in this technique are often bright and fluorescent for reasons I cannot explain, but this is what “Riso” has essentially become known for. Often used in small to mid-size institutions like clubs, churches and schools, before being phased out by modern photocopiers. Inside the printer, a stencil is wrapped around an ink drum, which is then printed onto paper — each colour is printed separately, the paper reinserted into the printer. This leads to interesting textures and misalignments, which artists really like. (Source: me and the internet)

Mentoring at Art Workshops for Kids

Also in May, a friend of mine asked me to jump aboard a project for IB Trier, an organisation for youth, social and educational work. Rollendes Kunstatelier, or “Rolling Art Studio”, is a mobile art workshop for children up to 18 years of age.

Every month, the “Art Studio” visits different areas in the region, especially small towns, and invites participants to express themselves and experiment with different media, completely free of charge.

My role is as a mentor, not a workshop instructor per se; the idea is that the children can play around and do as they please, and my task is to show them how the materials work, and to give them some prompts. I’ve never liked telling people exactly what to do, preferring to lead by example, so I think this suited me well. 

I feel immensely grateful to be part of this project, not only because I am paid a fair wage, but because I believe strongly in what they offer: accessible art to anyone.

Doing Inktober on my own terms

Selected drawings from Inktober 2025 © Kat J. Weiss

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October: I finished the Inktober prompt list of 2025, turning it into an honest daily drawing practice for myself. I shared most of the drawings in my biog and on Instagram, but never pressured myself to present anything publicly. That helped a lot to keep the process low-key and low-stakes. Read about the experience here.

Lithograph-Inspired Illustration for a local café

Snack Atelier flyer illustration. 2025 © Kat J. Weiss

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September to recently: a local café in my neighbourhood asked me to illustrate the front of a flyer for them. Their little café is very pretty, with Art Deco and Jugendstil elements. I immediately thought of Tolouse-Lautrec’s advertising posters and wanted to recreate the look. 

Tolouse-Lautrec worked with lithography, a “printmaking process in which a design is drawn [with an oil-based crayon] onto a flat stone”.

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Left to right: original sketch, then layers 1, 2, 3, 4, & 5

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I recreated the look using charcoal, graphite, and in one case, water-soluble graphite. I created each matrice (or layer of colour) on a separate sheet of paper, tracing over the original drawing with a light table. I then scanned each of the matrices and superimposed them in Adobe Photoshop. 

I played with the translucence of each layer using different Blend Modes: Multiply, Screen or Linear Burn.

My original colour blocking was not super precise. Usually, printmakers have to map out exactly which colour is assigned to which matrice/layer of colour, but in my case, working digitally gave me the flexibility of moving elements around

Left to right: new layers 1, 2, 3, 4, 5, 6 & 7, then final illustration

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Christmas Card Illustration

Christmas card illustration for Designforum RLP. 2025 © Kat J. Weiss.

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December: My last commission of the year came from Design Forum Rheinland-Pfalz, a organisation acting as an intermediary between designers, companies and politicians. I created a Christmas greeting card depicting artists and designers engaged in the joyful act of creation. I think this was a wonderful way to wrap up the year!

LOWS

Almost no progress on T-shirts

I’ve been talking for ages about rebooting my t-shirt printing gig, and though I made a bit of progress this year (making screens, dyeing and screen printing t-shirts), I did not get to an actual launch. Hoping for more progress this year…

Didn’t realise a dream project of mine

I’ve always wanted to create a watercolour-based, Seek-And-Find Calendar inspired by the Moselle region in Germany, where I live. I haven’t found the time yet, due — and thanks — to all the other projects I got to work on!

HONOROABLE MENTIONS

Stickers

Beginning of summer: I made some fun little stickers.

Illustrating Superstitions from around the World

Superstitions. 2025 © Kat J. Weiss.

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At the beginning of December, I once again joined my art collective PULPXIX for another group exhibition, titled “Useful Things”. After a phone call with my mother, I was inspired to illustrate the many ominous, often humorous superstitions that exist around the world. For example, how in Chinese culture it’s considered bad luck to gift scissors or clocks.

Christmas Gift: Couple’s portrait

For Christmas: I created this cute gouache portrait for my friend and her girlfriend <3

Why I'm done speaking to Germans about migration

Photo by hollandevans via Pixabay

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I’m done trying to bargain for a shred of empathy when speaking to Germans on the topic of migration.

The reason I say “Germans” is for the simple fact that I live in Germany and therefore I spend the most time conversing with them in daily life.

I’m done with having every normal, daily conversations be ruined by hateful speech about anonymous migrants in the abstract; a broad brush painted over people whose lives we do not know. 

You know how when you have that one friend, and every time you get together, all they do is complain about person X, until eventually you think to yourself, MY GOD, get a grip?? Yeah, you sound like that person.

I’m vetoing every conversation that goes anywhere near this topic. Why?

Because these conversations are often devoid of any factual evidence of what causes and “controls” migration (mostly the illegal variant is implied here). And because in these conversations, scapegoating and ire tend to steamroll basic human empathy. It’s tiring.

Migration is not a problem nor is it a solution. Migration is part of humanity. Migration is part of my personal family history; without it I would not exist. It might even be part of yours. Are you a “bad” migrant, or a “good” one?

I’m tired of people not thinking critically about the social issues affecting us, seeing the bigger picture, and instead opting to make other disadvantaged peoples their abstract enemies. 

I’m tired of people lacking self-awareness in how our emotions have been instrumentalised by politicians, who hijack fear and anger.

I am done having this conversation, because it is often brought to the table unannounced, without anyone asking. Again and again, it’s a needlessly politicsied topic that creeps into our everyday lives, threatening to break us.

It just frustrates me. A lot. As a counter to this:

I recommend the work of Hein de Haas, a sociologist who has studied migration for over three decades and knows a lot more on this topic than you and I. 

And in the mean time, I will fight for the issues I care about.

(Edit1: obviously migrants are not just doing “back-breaking labour” that Germans are less likely to do; we have labour shortages across the board that migrants help fill. See also: elderly care as well as our health system, STEM, hospitality, etc.)

(Edit 2: for tone 🙂 I was quite emotional when I wrote this entry the first time.)

When creative projects take much longer than you planned and you kind of feel like a failure (but pushing through anyway)

Title Image: Das Blaue Haus, Holbein Acryla Gouache and Schmincke Acrylic Ink.
A painting I finally finished after 2 months, in a total of approx. 10-15 hours.

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My life and the pace in which I make art have changed a lot these past two years.

The biggest change is that I became employed, giving me more security, and more freedom, in some ways, but also putting more constraints on my free time. I might be wrong, but this seems to be the trend among many illustrators and people wanting to pursue this path nowadays.

The second biggest change is that my ex-illustration agency let go of me last year, and ever since then, I’ve had to act as my own marketer, negotiator and accountant, on top of everything else. 

This year I vowed that I wouldn’t let that stop me, that I could embrace the indie spirit and make it on my own, work on my own dream projects, and be the illustrator I feel that I am and always wanted to be. However, I ended up putting way too much on my plate, and by April/May, I was operating on perpetual stress mode. 

Bamboo Dreams, I explain my full process here!

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I finally had to admit that, no, I could not work on 2 or 3 extra projects after work. That being only part-time employed still means that a significant chunk of my week is already occupied. And that between grocery shopping and cleaning and pet care and reading mails and starting a community project and whatever else is required to stay functional, regeneration time is a non-negotiable. 

I finally had to admit that whatever I wanted to achieve, whatever dreams I wanted to fulfil, well, those would just have to wait a little longer. And maybe that’s a good thing, because time, and the challenges and epiphanies that come with it, often crystallise the best parts out of us.

Making stickers + sketching in Padua and my local café

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Though I haven’t read Atomic Habits by James Clear, there’s an idea from it that I really like: Every action you take is a vote for the type of person you want to become. 

So maybe I no longer have all the time in the world, but what is one small thing I can do today, this week, this month, to keep the ball rolling? 

Song forever.

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A little doodle in memory of my dog. Doodle whatever makes me smile. Finish that painting I started two months ago. Go out sketching with a friend. Dye and print some t-shirts to print on further down the line. 

I promise, people, there is so much I wish to work on and share, if only it weren’t for the time. For now, this will have to do. 

Dyeing some t-shirts for printing down the line…

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If you’re anything like me, I invite you to commiserate, but to also keep believing in yourself and your capabilities. Reflect on and list all the ways you’re already working as an artist, illustrator, etc. and hold onto that. Use that to keep showing up to the page, no matter what small way it is.

At the end of the day, I am an illustrator because I care deeply about the pictures that I make. Please, please do not confuse this with “I would do it, even for free” — no! I believe in fair compensation for artists, because artwork is work. But even stronger than that, I feel a movement within me, pushing me towards more handmade-ness, more imperfection — because nowadays, pictures are so easy to make, even AI can do it. I believe we should celebrate our humanity in art, lest we lose it completely. 

Sketching in Padua earlier in July. Photo by my new friend, Imke.

An illustrated homage to Bamboo Scaffolding in Hong Kong: BAMBOO DREAMS

“Bamboo Dreams”, May 2025, approx. 120 x 148 cm, watercolour, acrylic ink, colour pencil on paper.

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What and Why

Bamboo scaffolding, used in Hong Kong building construction for multiple centuries, will soon be phased out. “Bamboo Dreams” is an homage to this cultural artefact in Hong Kong’s high-rise cityscape, and plays with the emotive distortion of architecture, as is often the case in our dreams.

I made this work to hold on to the memory of bamboo scaffolding — for a group exhibition with my art collective PULPXIX, titled “Rescaled”.

Bamboo Dreams, May 2025

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What I learnt in this process:

• Not working in isolation. I was about throw all of my social life out of the window for this project, but soon discovered that contact to my friends was precisely the thing that helped me move it forward. Thanks to my boyfriend I had access to a large scale scanner and light table (for enlarging and tracing), and thanks to another friend I had access to a plotter (for printing the draft). No way I would have gotten the art from draft to final at the same speed, with my regular A4 scanner/printer and A3 light table.

• Leaving space for mystery. I left a lot of negative space in this work; not usual for my detail-obsessed self. But I’m learning that these open spaces leave the viewer room to breathe, to think. Not every space has to be filled, not every mark has to be completed, not every question answered — leave room for the viewer to answer these questions themselves. Side note: trying to keep all those white spaces pristine was still a challenge in itself!

Doing some colour studies (or as I like to call them, “painting rehearsals”) and deciding on a palette were helpful in feeling confident for the final painting.

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• Letting the work tell you where it wants to go. With every completed project I learn, and re-learn, that things don’t usually turn out 100% as you planned. Maybe the piece works better with a detail added or left out (usually the latter). It’s a huge lesson in staying present, I think, not “holding on to the past”, keeping an open mind, and going with the flow.

First idea and final sketch.

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• Presentation is half the work. Now that I’ve been in the group exhibition game for a while, I know that there is so much you can bring out of an artwork, beyond framing and hanging and calling it a day — an afterthought. Presentation is integral to the work itself, just as important, if not more. All of this takes time, a steady hand, focus. I think I spent about 2.5 hours mounting my piece to the wall, making sure it was centred and the gaps in between were even. I even made a last minute change, cutting out part of one of the panels, so that the whole looked more balanced. 

Two out of my references photos! Many of these images became part of the final painting, as I traced directly over them. However, I still needed to adjust for scale/size — imagination required! I also found it helpful to study a piece of bamboo from real life, to get all the colour and texture nuances in the painting.

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• Don’t make things harder than they need to be. Having said all of the above… I think there is so much internal holding on to unnecessary narratives that make us do things in more complicated ways than they need to be. For me, this internal narrative is that I need to prove that I am the perfect draftswoman who doesn’t need visual references and aids. In this process, I tried to let of of that: I did not reference everything from life, I collaged and traced (my own) photos for visual material. Not everything is about “proving” yourself. Just get from A to B. 

Draft to final… I do not have a photo of this anymore, but just imagine lots of little panels stuck together, scanned and enlarged, printed on one big piece of paper, then traced over and painted!

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Have you had any AHA-moments in your creative process lately? No matter if it’s on a mental, practical or technical level… feel free to share in the comments below!

And… I’m curious about what kind of insights you would like to know from my creative process, whether its more mindset, or time management or technique… again, let me know in the comments below!

Printing t-shirts again: progress update

In short: a few stream-of-consciousness doodles and encouraging messages later and we are back to silkscreen printing t-shirts!

Here’s a glimpse of what I have been working on so far: 

anti-fascist froggie t-shirt start to finish; illustration ©️ Kat J. Weiss

my soul is mine t-shirt start to finish; illustration ©️ Kat J. Weiss

Das Blaue Haus t-shirt start to finish; design ©️ Kat J. Weiss

Not available for purchase yet, but I’ll keep you updated!

(I have a few technical and bureaucratic hurdles to move past)

Special thanks to my friend Harry Morrison for letting me use his print studio to make the screens!

one of the screens I am using to the print the shirts.

Big Illustration projects I'm leaving 2024 with; New Illustration projects I'm starting in 2025

Going out in 2024

Honey label for a private client with a small bee-keeping business

Illustration ©️ Kat J. Weiss / Jar mockup by Pixpine

Book cover and print for my fellow artist friend’s photo book Transatlantic — special edition

Illustration ©️ Kat J. Weiss

An installation with an anti-war message. I wasn’t all too happy with my output, but we can only learn by trial and error — making art within the context of my art community, PULPXIX is exactly the room to do that. At the end of the day, I can only hope that my message comes across: we mustn’t accept as a normality, the plight and suffering of children in the world’s horrific wars. 

Photo of my installation ©️ Sebastian Schubmehl, graphic designer

In case you’re feeling charitable, here’s an organisation that I think is doing terrific work in this field:

What's in store for 2025

T-SHIRTS RELOADED...! 

What I had in mind. Illustration ©️ Kat J. Weiss / T-shirt mockup by Mockups-design.com

After a long hiatus in the t-shirt biz, I would like to start something this January!

My lovely friends have been encouraging me to turn my recent doodles in t-shirts. It’s always surprising when something like that happens; that’s how the last t-shirts got started, too. Perhaps there is something about the honesty in expression that people like about doodles?

“Food Fantasy” continued

“Gelato”, Illustration ©️ Kat J. Weiss

I would like to continue my series of placing people and food in surreal contexts, exploring the communal significance of certain cultural foods. For instance, dim sum in Hong Kong or the doner kebab in Germany are foods that bring people across the board to identify with each other. And I think that’s beautiful?

Only problem is, I am a vegetarian (often incorporating veganism into my daily life) and I don’t feel comfortable depicting meat — which a lot of cultural foods still include. Hmm. So the idea might be just to focus on classic vegetarian dishes from different cultures, which I hope won’t be too niche to be relatable.

Illustration Pricing FAQ

The price of an illustration depends on a few factors:

• Exclusivity – exclusive or non-exclusive rights

• The number of print or digital media applications, e.g. one or more print media, online, social media, television, etc.

• The scope of use – how many editions of the illustration will be published, and/or how large is the target audience

• Duration of use – single use to 1 year, 3 years, 10 years, unlimited

• Geography of use – how many countries, regions (e.g. DACH region), continents will the illustration appear in, should it be international?

• Size of artwork

• Level of detail – background or no background, how many people should be in the illustration, what subject matter should be included, full colour, black & white or only linework

Based on these factors, I can quote your project accordingly.

Sample Prices

Based on “Honorarwerk Illustration“ (2019), an overview of industry-standard prices across all illustration markets in Germany. It was published by Illustratoren Organisation, a German illustration workers’ union.

• Editorial illustration for magazine or newspaper, print, single page, non-exclusive rights, DACH-region, single use to 1 year – €550

• School book illustration, print, DACH-region, exclusive rights, single edition, simple motif in colour – €80

• Children’s or young adult book cover illustration, print, DACH-region, exclusive rights, simple or moderately complex style – €750

• Poster or flyer (advertising), 1 print medium + online publication, non-exclusive rights, simple style with limited colour, limited editions, single use to 1 year, Germany – €500

A little bit of Hot Pot for your home – Fine Art Prints

I decided to restock one of my favourite prints – reproductions of a watercolour piece I painted almost two years ago. Indeed, I am no longer in possession of the original, as I sold it last year! 🥲

I just realised that I never explicitly talked about which corner of my brain this piece sprang from. One, I am a nostalgic person, and this piece is an ode to hearty, cacophonous nights spent at steamy, smoky hot pot restaurants in Hong Kong. Because I love my friends.

One of the first sketches, plus me posing for reference lol

It is an on-the-nose depiction of Hong Kong as a melting pot; how I remember it and how I would love it to remain. And finally, it is an ode to food, and how it brings people together.

Hot Pot, 30 x 40.8 cm (outside 34 x 44.8 cm) prints, on Hahnemühle Photo Rag – €65
Currently 5x in stock. Shipping from Germany. Please follow the link to e-mail an enquiry!

I know it seems odd that I don't have an official set up for this, but I’d much rather personalise the delivery options as shipping prices are THROUGH THE ROOF at the moment!

I’m open to any kind of delivery option: regular mail, in person, etc. – possibilities are endless as long as we stay creative. I’ll pack the print nice and safe, but liability is limited.