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by Mikaela Brewer ​for The 44 North, Senior Editor


Artwork by Logan Brewer
Artwork by Logan Brewer

The willow tree’s branches stroked the living room window, causing the setting sun to twinkle across Raven’s prom dress. Carefully propped on a hanger, it was hooked to the top ledge of the swinging door separating the kitchen and living room. For a moment, Grandpa Wood—as Raven always called him—blended the music of the gentle window tapping with the door’s inability to be still or closed. He was fiddling with the dress’s delicate corset back, stringing the tie through with practiced hands.  


“Did all the sauce wash out?” Raven asked jokingly, as she skipped down the stairs in her slip and stockings, hair still in curlers.


“Most of it. But you’ll never forget to toss the spaghetti on the wall before adding the sauce, will you?”


Raven laughed, shaking her head. 


“I didn’t make the loopholes big enough to easily take the ribbon out and thread it back through. You’re lucky I’m good at this.” Grandpa Wood chuckled. “Okay. Arms up!” 


“Careful of the curlers!” Raven said, giggling. She stepped towards Grandpa Wood as he tenderly lifted the dress off the hanger and slid it over her head. 


“Turn around,” he said, motioning to lace up the corset. “How tight?” 


“Well, I want to be able to breathe, but make it pretty.”


Grandpa Wood winked, knowingly. “So when does Sari get here? Her flowers for the tux are in the fridge.” 


Raven blushed. “In twenty, I think.”


Grandpa Wood tied and arranged the bow, then turned Raven to face him. His smile said all she needed to hear. 


Raven’s dress was a shade darker than her near-black hair, but shimmered amber in the light like her eyes. The sleeves were black lace, the corset ribbon amber, and the hand-stitched bodice detailed tiny raven feathers and moths. Grandpa Wood, who hadn’t stitched a dress in over twenty years since he retired, had completely outdone himself. He’d even tucked a few bits of wild bergamot into the corset, the aroma of which filled the doorway between the living room and kitchen. 


“You better get those curlers out.” 


“Would you help me? Just like mom would have?”


Grandpa Wood smiled through the sadness that emerged first, but it showed in his crow’s feet. “Only if I can tell you a story.”


Raven nodded, taking a careful seat on her grandfather’s soft blue armchair. She needed something to distract her from feeling nervous. 


“Don’t worry. The dress fabric is pretty resilient. You’ve got to be able to dance, right?” He cleared his throat before beginning the story and started unfastening the tiny curlers nestled in Raven’s thick hair. 


“Since it’s your prom night, how about a story with Theo?” 


Stories about Theo were Raven’s favourite. Theo was Grandpa Wood’s high school and university sweetheart, and Raven liked to imagine that, if possible, they’d be together today. But Theo died from HIV/AIDS at just twenty-one. Somehow, though Raven had never met him, it felt as if he was still alive—just somewhere out of reach. Grandpa Wood’s stories were that vivacious; he loved Theo that much.  


“On our prom night…well, I’m sure you can imagine. Our folks didn’t know we weren’t going to the prom. We dressed up all right, suit and all, but said we were meeting some friends there instead of picking up a date. Theo and I had other plans.” He winked for effect. 


“An hour from here, near the reservation where I grew up in Southview, there was a lagoon with a weeping willow. It’s unusual for ours to be here, let alone more that far North, so someone must have planted it in the little park. Just like your mom planted ours. We’d hung lights the night before and packed the back of Theo’s rusty truck with snacks and beer—courtesy of your uncle Art. It was warm that night when we arrived around 8:30 p.m. Nearly dark but not quite. Warm enough to swim—without clothes, I might add.”   


“Grandpa!” Raven laughed, though not surprised. Her grandfather wasn’t shy. 


“Hold still! Or these will turn into burs!”


“Okay, okay. Continue.” Raven settled herself into the chair and held still.


“Well, I won’t tell you the rest, but we had a great time. Don’t you get any ideas! That swamp by the market isn’t a close second to our little spot back then. It’s contaminated with goodness knows what.” 


“I can imagine,” Raven said as Grandpa Wood took the last curler from her hair and fluffed the curls. “Did your friends want to come with you?”


“You know, I don’t know. I was afraid to ask, to be honest. Theo and I weren’t exactly an item for public viewing. To tell you the truth, I’d be afraid to ask those same people now, even though we’re grown.”


Raven looked sad and fiddled with her dress. 


As if reading her mind, Grandpa Wood replied, “I tell you this story, though, to remind you that our pain is so often centred as the only valuable thing we have to give. That much hasn’t changed between my generation and yours. Maybe it has visibility-wise. But for folks like us, our romantic joy is sacred, resistance, and just as important. In context, were Theo and I sad to be making-shifting our prom, alone? Sure. Theo’s ashes are there, you know? I scattered them across that little clearing by the water. Haven’t been back since. But we were immensely happy that night. It was the happiest evening of my life. And that’s worth something—a story worth telling, don’t you think?”


Raven nodded, an idea foaming like little waves on the shore of a lagoon. The doorbell rang just before the kettle for Grandpa Wood’s tea whistled. 


***


“Where are we going?” Grandpa Wood asked a few days later, a kitchen towel covering his eyes in the front seat of Sari’s parents’ Honda Civic. They’d fastened the towel at the back with a clothespin. 


“You’ll know soon,” Sari said, fingers strumming the steering wheel to the tune of RAYE’s song, “Joy,” blasting from the radio. The sun was nearly down, but it made Sari’s brown skin and purple blush pop. She glanced in the rearview mirror at Raven in the back seat and winked. 


Raven smiled, clapping her hands silently with excitement.


In a few minutes, they turned onto a soft dirt drive, stopped the car, and climbed out to help Grandpa Wood. When Raven opened the passenger door, he was shivering.


“What’s wrong?” Raven asked, concerned, as Sari came to her side. 


Grandpa Wood half-smiled. “There’s a hole in this rag, my dear.”


Raven’s heart felt like a boulder resting on her stomach. He knew where they were. 


“But it wouldn’t have made a difference if it were brand new. It seems my body remembers how cold the water was when we jumped in.” 


Sari and Raven helped Grandpa Wood out of the car and unpinned the dishcloth. He took both of their hands, one on each side, and smiled. 


“Thank you. This is very thoughtful.” But he seemed sad, and in a way, hurt, as if his loneliest memory had appeared before him and he hadn’t wanted to face it again. Sari and Raven exchanged glances, unsure of what they were about to do next. From where they stood by the car, the top of the weeping willow was just visible, its full body standing in a small valley.


Carefully avoiding rocks and tree roots, they walked past a playground toward the gentle slope that smoothed into grass. When they crossed the curve’s threshold and looked down the hill, the sound ceased to be protected by the bowl of earth where the lagoon was nestled. Grandpa Wood’s mouth opened nearly as wide as his eyes. 


Beneath them, at the bottom of the hill, were Raven and Sari’s high school friend group and at least twenty seniors from the area where they lived—some Grandpa Wood’s old friends, some soon-to-be new friends. 


“We asked around at homes and senior centres, and invited as many folks from the 2SLGBTQIA+ community as we could,” Sari said, grinning. A huge glittering banner waved from a nearby maple, reading “Happy Pride Prom!” Three picnic tables were covered in food. The high school tech team had set up small speakers, which played 50s hits. And, once again, fairy lights hung from the bows of the weeping willow. 


Raven finally spoke. “I remember you saying that sadness and grief aren’t the only things worth feeling. Joy is right there beside them, often in the same place.” 


Grandpa Wood wrapped his arm around Raven and kissed the top of her head. “You’re absolutely right.” He reached over and hugged Sari, too. 


“Can I show you something else?” Raven asked.


“There’s more?” Grandpa Wood replied, genuinely surprised.


Raven nodded, offering her hand. They walked down the slope, past the small party, to the other side of the weeping willow. 


“We were going to pick wildflowers to decorate. But I don’t think we need to. Is this the spot?”


Grandpa Wood stared, his eyes scanning a bloom of forget-me-nots about the size of two people, scattered across the little clearing. He nodded, eyes welling with tears.


Raven reached up, adjusted his periwinkle tie, and hugged him tight. 


“They move us forward, too,” Grandpa Wood whispered after a few shaky breaths. “Grief and joy together. We can only survive and live when moved by both. That’s how the past keeps living, too. What can’t be alive itself survives inside us.”


“Is that why grief and joy feel so heavy? Theo is alive inside you?” 


“Yes, love. And that’s why what you’ve done for me today feels so much like rest; he’s alive inside you now, too.”


Resources for 2SLGBTQIA+ Seniors & Elders


by Alaina Zhang ​for The 44 North, Newsletter & Reviews Editor


Students from the “International Students: First 48 Hours” documentary, filmed & produced by Cal Campos
Students from the “International Students: First 48 Hours” documentary, filmed & produced by Cal Campos
“I don’t know how airlines expect us to put 25 or 24 years of our [lives] into two suitcases and just move across the globe.” —Pahul Sond, From“International Students: First 48 Hours”

As a Canadian student studying in the U.S., seeing a documentary following the experiences of international students in Canada—a place I’ve called home for many years—brings forth an array of feelings. It makes me wonder what it would have been like to stay in Vancouver and study at the University of British Columbia, which is so close to my home. What could I have gained, and what might I have lost? 


The documentaries International Students: First 48 Hours and International Students: Life After Graduation address some of these questions. Filmed and produced by Cal Campos, a Media Producer and Inclusivity Public Speaker from Toronto, together with the University of Toronto’s Centre for International Experience as well as the Innovation Hub, the documentaries follow the journey of 12 students, 6 of whom have just arrived in Canada and 6 of whom are living different lives post-graduation, respectively. 



The international student experience is shaped by an immersion in the unknown. One scene which particularly struck me was Josefa Antonia Sepulveda Guzman, after she had spent some time in Canada, saying, “I kind of want to cry. This all means that I’m doing the right thing.” For her, studying at a foreign university is a dream come true—one that comes with the cost of not spending as much time with her mom (with whom she’s lived her entire life). Yet Guzman continues, ready to call Canada her new home, ready for its challenges and love, ready, as I believe many international students are, to be vulnerable to change. 


Like Guzman, I spent almost my entire life living with my mom, and leaving both my home and my family felt daunting. At the same time, attending college in the U.S. exposed me to my own inadequacies and insecurities. I quickly realized I didn’t know much about American pop culture and I’d never had friends who were a different race from me; the public school I attended was 90% Asian. I felt I wasn’t extroverted or sociable compared to my American peers. I intentionally practiced my small talk, built up knowledge of specific slang, and worked to find people I connected with. As a Canadian, I was aware of my luck and privilege—that the culture shock was less forceful. I was, perhaps, the “least international” an international student could be. Yet, at the same time, I found myself maturing at a rate that I’d never experienced before. I began to examine my own biases, realizing I could be friends with people who held very different backgrounds and values from me. I found myself thinking, all the time, about relationships, gender, academics, and the future in ways I’d never explored before. I was experiencing a type of ‘growing up’ that would’ve been much slower had I chosen to stay inside the comfortable bubble of my home and family. I wasn’t sad amid these changes, but proud of how much I’d grown each time I saw my family again. 


Students from the “International Students: Life After Graduation” documentary, filmed & produced by Cal Campos
Students from the “International Students: Life After Graduation” documentary, filmed & produced by Cal Campos

Sudene, another student who has decided to pursue a research analyst role at The Centre for Addiction and Mental Health (CAMH) post-graduation, captures the bittersweet sentiment beautifully: “I’ll be missing out on something. I’m going to miss a lot of family moments, but at the same time, I’m excited about the opportunities that travelling abroad offers to me.” We also get to know students like Mary-Rebekah Reyes, who returns to her home country and starts her own art business while continuing to explore the beauty of Trinidad and Tobago, carrying her study-abroad experience with her.  


As someone in their third year of undergraduate studies, I’m also thinking about what it might mean to stay in the U.S. and what it might mean to return to Canada or even China, where most of my family now lives. Being an international student might not be an experience familiar to many, but we’ve all had the experience of navigating a new place, leaving our family and friends behind, even if just for a few hours. Our current age has made travel easier, enabling many to live in different places. But it also means that part of you will always be tied to each city you’ve been to. My identity has already become a mosaic; part of me will forever remain in Wuxi, where I was born, and parts of me are scattered across Vancouver and Stanford. As life goes on, I know that I’ll leave more pieces of myself behind around the world and carry more of the world, engraved into me. 



When we think about the future, how do we choose where to go? As we transition from students to adults, and the future’s possibilities spread out before us, we’re confronted with the question of who we want to be. For international students especially, there’s often a tough decision about whether to return home, stay in a new country, or perhaps even travel to another new place. As the world becomes increasingly uncertain, we find ourselves caught between different loyalties, family ties, and even political tensions. I, for one, always try to remember what my parents told me: Choose a path that places you on higher ground, so that when you look far into the horizon, you can see futures that you couldn’t have even imagined previously. 


All of this is to say that while people around us might try to convince us that one choice is better than another, just remember that any choice is valid. I try to imagine all the different futures I could be living, and pick based on the fact that this is my one chance to live a life of my choosing.


Back in high school, as I thought about where I would attend college, I contemplated staying in Canada, studying in the U.S., or even returning to China. Each held different opportunities and sacrifices. Some would bring me closer to my family, while others led me further away. Some would challenge me socially and academically. Yet, one thing didn’t change amongst those choices. I was determined to study English no matter where I went. Now, as I think about my post-graduation plans, I can once again imagine the various futures before me. I can see myself in the office buildings of New York, watching the sun set from tall glass windows. I can see myself working in a publishing house in Vancouver, writing the next chapter of my novel. I can see myself with my family back in Wuxi, teaching English literature at a local international school. What hasn’t changed is that each option will lead me to higher ground in different ways, and that’s why, whatever my decision is, I believe that each of us can and will choose well. 


Despite our vast differences as international students, these choices are what tether us—what we can only do together. And when we forget that sense of community or feel overwhelmed amid change, rewatching International Students: First 48 Hours and International Students: Life After Graduation is a welcome reminder.

 

by Wing Lam Chan for The 44 North, Guest Writer



“Where are you from?”


A typical icebreaker question that everyone comes across.


My only answer would be “Hong Kong,” since I was born and raised there. Period. However, my identity tends to be flattened in a sentence—“So you’re from China”—if the questioner is not familiar with Hong Kong’s historical dynamics or holds a political stance. I always feel a need to justify my identity in this unilateral box; likewise, I’m gagged with papers and evidence that state Hong Kong is a special administrative region of China. The simple question becomes a drowning debate.


Speaking has never been my strength, but drawing is. So, on faith and belief, I propelled myself with a stylus pen in the ocean, exploring the fragmented storytelling of local identity. Eventually, I came up with seven eerie illustrations that reimagine Hong Kong urban legends—Borrowed Absurdity.


Wing at GradEX, next to her collected work, Borrowed Absurdity
Wing at GradEX, next to her collected work, Borrowed Absurdity

The title Borrowed Absurdity comprises two elements: The impermanence throughout Hong Kong’s trajectory and urban legends. The term “borrowed” is inspired by the quote from Richard Hughes that describes Hong Kong’s uncertain socio-political landscape between 1960 and 1970: 


“A borrowed place, on borrowed time.” 


The quote captures the city as a fragmented land amid temporary colonial existence since 1841: The British occupied both Hong Kong Island and Kowloon, and for 99 years, obtained a lease of the New Territories, later interrupted by Japanese occupation for three years and eight months. Although Hong Kong was transferred to Chinese sovereignty and established as a Special Administrative Region in 1997—with the exercise of “One country, two systems” maintaining its own capitalist economy, legal system, education and language—this autonomy will expire in 2047. The land perpetuates “borrowed,” and so do the social anxieties embedded within it.


Interestingly, urban legends also possess such instability, with their doubtful credibility and evolving versions of the story often intended for thrilling entertainment or warning about certain behaviours across time. By recontextualizing them and layering the collective fear with historical backdrops, Borrowed Absurdity aims to initiate discourse on identity, precarity and resistance against assimilation.


The Braid Girl & The Ghost Postman


The Braid Girl by Wing Lam Chan: It is said that the long-braided spirit was once a rural girl fleeing from mainland China to Hong Kong. Driven by the immigration policy, she tied her Hong Kong dream into her braid and boarded a train toward the city. Mistaking a passing station for the final stop, she abandoned everything behind and jumped prematurely. Her reckless leap marked the tragic end of her journey.
The Braid Girl by Wing Lam Chan: It is said that the long-braided spirit was once a rural girl fleeing from mainland China to Hong Kong. Driven by the immigration policy, she tied her Hong Kong dream into her braid and boarded a train toward the city. Mistaking a passing station for the final stop, she abandoned everything behind and jumped prematurely. Her reckless leap marked the tragic end of her journey.

The series begins with a dual nightmare shared by Mainland refugees and the local community. During the 60s, struggle sessions emerged within the Chinese Communist movement’s “Great Leap Forward.” Farmers were mandated to undertake industrial work and lost autonomy over their land, leading to severe famine and deaths by persecution. Meanwhile, Hong Kong was not only under British colonial rule, but regarded as one of the most prosperous cities. To attract more cheap labour, the British Hong Kong government pitched the “Touch Base” Policy—an immigration policy that grants residency to Mainlanders who successfully reached the city. Countless Mainlanders were sent running across a risky baseball field towards the life-changing base called Hong Kong, often on moving trains. The Braid Girl demonstrates this plight. Braiding her hope towards the escape, the braid becomes her stumbling block—a force that motivates her while distorting her body. As it tightens against the moving train, her face is split in two, and with it, her imagined future and possibilities collapse. 


The Ghost Postman by Wing Lam Chan: It is said that a ghostly postman unlocked gates and slipped blank letters into the Wan Chai neighbourhood. Those who receive the letters are doomed to die within days. As death accumulates, fear seeps into restless nights.
The Ghost Postman by Wing Lam Chan: It is said that a ghostly postman unlocked gates and slipped blank letters into the Wan Chai neighbourhood. Those who receive the letters are doomed to die within days. As death accumulates, fear seeps into restless nights.

The tragedies continue to fall upon local communities. Hong Kong has faced prolonged overpopulation since World War II, aggravated by the influx of Mainland refugees under the “Touch Base” Policy. With rising social tension, the seeds of fear and antipathy were sown, marking the expanding division between locals and outsiders in the future. While The Braid Girl reflects the refugee’s tragic experiences, The Ghost Postman shifts to a local perspective, depicting the suppressed, collective anxiety of overpopulation. The postman, as an embodiment of the outsider, slips through the gates and grates the community’s nerves alongside increasing death and disaster. 



The Haunted School & The Convenience House


The Haunted School by Wing Lam Chan: It is said that the abandoned Tat Tak School is haunted by spirits of Indigenous New Territories inhabitants killed by British and Japanese troops. Buried within a nearby mass grave, they wander through the ruined classrooms searching for their seats among nameless gravestones and rubble.
The Haunted School by Wing Lam Chan: It is said that the abandoned Tat Tak School is haunted by spirits of Indigenous New Territories inhabitants killed by British and Japanese troops. Buried within a nearby mass grave, they wander through the ruined classrooms searching for their seats among nameless gravestones and rubble.

As someone born under Chinese sovereignty, I always feel distant from British colonization and Japanese occupation. The history is either compressed into a list or neglected in education, not to mention the disappearing Indigenous people (Punti, Hakka, Tanka, and Hoklo) in rural New Territories. Land, to Indigenous people, is not only property but also a means of preserving lineage, fengshui, and sustained livelihoods. They maintained village autonomy under the Chinese imperial system, yet foreign rulers took over their land rights against the traditional practice, provoking counterattacks such as the Six-Day war. Confronted by well-trained troops with advanced weapons, hundreds of native people were sacrificed; their deaths remain unrecorded, fading within their own land and memory. In contrast to the legends of Tat Tak School, which relate to malevolent spirits or the deadly consequences of adventurers, The Haunted School examines haunting in a decolonial framework. As the spirits return to school and collect their own desks, their contours consolidate gradually, reclaiming their presence throughout historical erasure in the classroom setting.


The Convenience House by Wing Lam Chan: It is said that an unsettling hospice lies hidden among the stilt houses in Tai O, once serving as a burial site for dying elders whose bodies were never reclaimed by their families. Within this dreadful space, an elderly man rests while imagining himself as a tilapia—an invasive species brought from the Mainland—drifting among the local fisheries of the village.
The Convenience House by Wing Lam Chan: It is said that an unsettling hospice lies hidden among the stilt houses in Tai O, once serving as a burial site for dying elders whose bodies were never reclaimed by their families. Within this dreadful space, an elderly man rests while imagining himself as a tilapia—an invasive species brought from the Mainland—drifting among the local fisheries of the village.

The unstable land once failed to preserve the home for Indigenous New Territories inhabitants; nevertheless, becomes a lifelong shelter for others. The Convenience House is set in Tai O, a traditional fishing village inhabited by Tanka people and well known for its stilt houses above water. Located in the Pearl River Estuary where it meets the South China Sea, it also became a migration passage for Mainlanders crossing the water during the Cultural Revolution. Unlike the scenic stilt houses, “The Convenience House”—a single-story, tiled-roof hospice— hides in the shadows and is lived in by dying elders, often those whose bodies were refused repatriation by their families due to taboo. Amid flowing water and life, the “Convenience House” becomes a rigid support for the drifting man, as if a tilapia adapting to new water and becoming part of nature after death among local fisheries. This portrays an inexplicable calm settling upon unstable land shaped by a sojourner mentality.


The Mah-jong Demise & The Parallel Station


The Mah-jong Demise by Wing Lam Chan: It is said that four gamblers died while playing mah-jong after forming four tiles with the character “West” (which sounds similar to “death” in Chinese).
The Mah-jong Demise by Wing Lam Chan: It is said that four gamblers died while playing mah-jong after forming four tiles with the character “West” (which sounds similar to “death” in Chinese).

The Parallel Station by Wing Lam Chan: It is said that a salaryman became trapped within the same station on his journey home, as if he had entered a parallel world.
The Parallel Station by Wing Lam Chan: It is said that a salaryman became trapped within the same station on his journey home, as if he had entered a parallel world.

The year 1984 marked a significant milestone in Hong Kong—the UK and China signed the Sino-British Joint Declaration, marking the end of 156 years of British colonial rule and the handover to Chinese sovereignty in 1997. Hongkongers had no say in the decision. Witnessing the influences of the Chinese Communist Party, rather than celebration, Hong Kong society was rampant with mistrust and disappointment towards the decision.  Irreversible fate and stillness is depicted in both The Mah-jong Demise and The Parallel Station—either extending time through indulgence in gambling and drugs, or travelling on a Möbius track with contradictory directional signs, everything lost in directions but a gloomy future. Authority over land and life persists across time.


The Submerging Turtle


The Submerging Turtle by Wing Lam Chan: It is said that a giant turtle deity lives within the mountains and descends gradually each year. Once it reaches the sea, the city will collapse into a violent red ocean.
The Submerging Turtle by Wing Lam Chan: It is said that a giant turtle deity lives within the mountains and descends gradually each year. Once it reaches the sea, the city will collapse into a violent red ocean.

A visitor asked me, “Shouldn’t the turtle be happy as it returns to the ocean where it belongs?” Ideally, yes, only if the ocean has not been contaminated. Since the 1997 handover, conflicts between Hong Kong and China have been intensified through repressions of culture, economy, politics, and the legal system. Back in elementary school, I remember that Putonghua (standard Beijing Mandarin) was taught as the medium in Chinese Language Education, dividing students into two groups: Putonghua applied to the “elite” class, while Cantonese (the primary spoken language in Hong Kong) was for the “academically inferior” one. Following perpetual measures on the Hong Kong-Mainland relationship and demonstrations, including the 2014 Umbrella Revolution and the 2019 Anti-Extradition Law Amendment Bill Movement, the Chinese government ultimately decided to silence the crowd with national security laws that erode freedom of speech. Throughout the decades, from ripple to rogue wave, from language to internal affairs, Hong Kong was dragged toward assimilation in stages. If they abide by the “One Country, Two Systems” promise and respect the dynamic Hong Kong identity, I believe Hongkongers will feel less reluctant to embrace this “mother ocean.”


Borrowed Absurdity by Wing Lam Chan
Borrowed Absurdity by Wing Lam Chan

Borrowed Absurdity presents assembled fragments of Hong Kong lived experience rather than a map of Hong Kong’s history or a complete portrait of Hongkongers, often featuring Mainlanders, spirits/creatures, and distorted space. Shaped by the fusion of Chinese and Western influences, Hong Kong identity suggests a sense of fluidity. It’s not about ethnicity or holding residency but about adapting the language and shared values. If you called Hong Kong home, you are a Hongkonger.


The series ends, but my story certainly doesn’t. Perhaps it offers an entrance to the far shoreline before people dive into the water. Perhaps the landscape has changed beyond recognition before people get to know it. Never will submersion be the final ending for Hong Kong—hope floats, always through collective storytelling.


About Wing Lam Chan

Bio Portrait by Wing Lam Chan
Bio Portrait by Wing Lam Chan

Wing Lam Chan (泳 Wing (@lamc_illust)) is a Hong Kong digital illustrator based in Toronto and a recent graduate of the Illustration (BDES) program at OCAD University.


Wing’s practice blends Eastern and Western storytelling through editorial and sequential illustration, using symbolism and emotional narratives to explore themes of culture, identity, and memory. She is drawn to the quiet moments embedded in everyday life, visualizing them through a surrealist art style. Wing believes storytelling can amplify community voices, reconstruct marginalized narratives, and foster empathy and shared humanity.



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