Leung Mee Ping

Year	Awards
2015	Hong Kong Best Annual Artist Award Hong Kong art Development Council
2014	IMMA Fellowship Irish Museum of Modern Art, Ireland
2013	President's Award for Outstanding Performance in Scholarly Work (Service). HKBU
2012	Artist Residency Slade School of Fine Art, University College London, Britain
2011	President's Award for Outstanding Performance in Scholarly Work (Creative / Professional Work) HKBU.
2010	Outstanding Artists of 2010: Martell –NDmedia Art Salon. Martell Art Foundation in China
2009	Daily Permanent Public Sculpture, National Museum Southern Branch, Chiayi Prince Boulevard, Taiwan
2008	Civitella Ranieri Fellowship Civitella Ranieri Foundation, Italy
2007	Two Sites Permanent Art in Public, Zhang Jiang High Technology Park, Shanghai, China
2004	Freeman Foundation Fellowship Freeman Foundation, USA
2003	Starr Foundation Fellowship offered by Asian Cultural Council, USA
2002	Hong Kong Contemporary Art Biennial Award

Initiated by a close friend's passing, Leung began collecting tea bags to create Elsewhere in 1991.^[5] Elsewhere is mixed media installation consisting of thousands of tea bags sewn together. Made through the repetitive action of sewing teabags, Leung's work is meditative contemplation on being and death.^[6] In 1991, Leung won the Premier prix Rocheron Award for this work.^[7]

Memorise the Future (1998-2006), first shown at the Hong Kong Museum of Art, is an installation composed of 3,000 children shoes made of human hair (4 to 5 inches for each). Leung collected the hair from over 10,000 people, encompassing one hundred nations, various demographics, also symbolising disparate and diverse 'memories'. She then mixed, knit and wove the collected hair, blurring geographical boundaries and identities. The shoes themselves also carry meaning, pointing towards the future.^[19][20][21]

Out of place (2005-2011) is a series of video installation which feature different places (including Hong Kong, Shenzhen, Taipei, Beijing, Shanghai, Sri Lanka and Macau). Leung followed a number of individuals wondering aimlessly through the streets of varying locales, attempting to discover new psychogeographical routes through the mapping of purposeless.^[22]

I Miss Fanta^[23] was presented as part of Mobile M+: Yau Ma Tei, a series of nomadic pre-opening exhibitions organised by M+.^[24] I Miss Fanta consists of three iconic outdoor neon signs of Coca-Cola, Fanta, and Sprite previously installed along Macau's main shopping artery Avenida de Almeida Ribeiro, where they were an integral and memorable part of the urban visual landscape.^[25] After Leung discovered that two of the signs, had recently been removed, she found and transplanted the signs in this work, re-lighting the neon in the process. She displayed them on the ground of the park in Yau Ma Tei, echoing how they were found on the platform in the Coca-Cola factory in Macau, and documented the move in videos shown in a nearby junk and recycling shop. Leung transforms all these visual symbols related to personal and collective memory into a sculptural installation, bringing the tension between heritage conservation and urban gentrification to the surface as well.^[26][27]

In 2014, Leung enrolled in Fleeting Light, a large scale media arts exhibition presented by The Hong Kong Arts Development Council. The exhibition was held outside Hong Kong Science Museum during 14 September to 28 September 2014.

For this exhibition, Leung designed a mobile app called Star Pupas where visitors could scan images of stars in the sky, "name" said stars and leave messages for friends. The images and the messages were then projected onto a dome-shaped tent. The more stars that are shared, the more light there will be in the tent. Leung aimed to claim back starlight, which is often obscured by light pollution in urban cities, and also to invite visitors to 'look up' away from their smartphones, not only to the sky but also to the community around them.^[28][29]

Leung Mee Ping's Pearl River Delta Series I: Made in Hong Kong was a mixed-media installation investigating the relationships between cities in the Pearl River Delta—Hong Kong, Shenzhen and Macau. In particular, Leung was curious about the souvenir painting trade, which had recently moved from Hong Kong to Shenzhen. Leung herself went to Dafen to apprentice herself as a trainee to learn about the rapid painting production. She then commissioned a number of paintings of various Hong Kong scenes, which were created sometimes by herself or by other trainees. She signed each of the paintings, no matter who had created them. Leung questions ideas of origin, identity, gaze and ownership in this installation as viewers are invited to look on a set of souvenir paintings depicting mundane, everyday scenes in Hong Kong.^[30]