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VISUAL ARTIST Graphites Paintings Photography



VISUAL ARTIST Graphites Paintings Photography




Profile Norm Yip’s work eschews any one medium or genre; it

Norm further expanded his artistic repertoire when he

weaves in a constant circle around photography, graphite

began photographing the Asian male body. Inspired by the

drawings and paintings. The essence of his art permeates

chiaroscuro aesthetic of Herb Ritt’s sculptural subjects,

at several different levels; reflecting varying aspects of his

his series of photography books - aptly named ‘the Asian

mind and heart at play.

Male’ - brought a renewed sensibility to the Asian man as monuments of beauty, desire and pleasure.

Graphite drawings dominated his early repertoire and remains some of his most philosophically and emotionally

In 2012, Norm set out to combine his disparate interests;

influenced pieces today. Pencil and paper meet to inscribe

allowing photography and painting to collide and fuse

his awakening into the mysteries of life and death. At first

into an altogether different form of expression. Through

appearing as symbols, the drawings tend towards the

a process of image transfers using an ink toner printer,

formless - the ‘being-ness’ of existence represented in a

paper and acetate with animals and portraits as his initial

series of embryonic circles.

subjects, the pieces that emerged were highly textural and tactile; vivid in their raw emotional energy and vigor while

Where graphites provided glimpses into his deeper sub-

tempered with a tenderness and sensitivity born from

conscious, it was acrylics that gave Norm’s thoughts full

years of observation and experimentation.

voice - a vocabulary exciting and rich in both colour and form. His visual language of choice is that of abstraction, with recent works inspired both by nature and the malleability of the medium; using colour to capture movement and guide the eye. In another series, he uses the infinity symbol ∞ to represent the unending consciousness of life; bound neither by birth nor death.


Biography Norm Yip was born in Canada in 1963 to Chinese parents.

In photography, Norm’s work was first recognized when

He received his Bachelor of Arts degree (cum laude) in

his photographs of Asian men was selected to appear in

1984 at the University of Saskatchewan and his Bachelor

publications 2Blue and Dreamboys 2, both special editions

of Architecture degree in 1989 at the University of

of aclaimed Blue Magazine, known for its excellence in fine

Toronto. In 1994, he moved to Hong Kong where he

art photography of male physique. Since then, his work has

worked as a project architect for Wong & Tai Associates

been featured in The Best of International Nudes Photography

Ltd and RTKL International Ltd before pursuing his greater

III by Feierabend Unique Books and The Romantic Male

interest in art and photography.

Nude by James Spada.

In 1999, he co-founded the art collective Meli-Melo Artists

Norm has taught photography courses at The Open

Alliance (MMAA) along with Betty Cheung and Wilson

University of Hong Kong and has been a guest lecturer

Chik, where he curated several exhibitions with artists

at the Hong Kong Art School. In addition, he has been

such as Gavin Tu (Hong Kong), the late Neung or Panuwat

invited by the Cathay Camera Club to act as a judge in their

Hoonbamrung (Thailand) and Oksana Movchan (Canada).

monthly photography competitions.

Shortly thereafter, he formed his own photography

In 2008, he moved his studio to Chai Wan, an industrial

company Norm Yip Photography, in addition to Studio

neighborhood, where he continues to photograph, paint

8, a semi-public photographic and art space located in

and draw.

the district of Sheung Wan -- where he hosted private and selected exhibitions in the mediums of photography, painting and graphite.

As a photographer, Norm’s work has appeared in HK Magazine, WHERE, Global Investor and American Express’ Centurion magazine, Prestige, and Luxury Properties Magazine. Celebrities he has photographed include Zhang Yimou, Jennifer Lopez, Ricky Martin, Destiny’s Child and Korean pop-star Rain.

Graphites 1999 was a year of change. My desire to work as an

I then began to investigate various universal symbols such

architect had disappeared and a personal search for

as the cross, more variations of the circle, the triangle and

happiness lay before me. As a child, I remembered my

square, trying to seek out perhaps its deeper universal

interest in art and thought it was it appropriate that I begin

meaning. This then lead the way to a pivotal piece entitled

my exploration with drawing. For whatever reason, my

One, a subtle representation of the non-physical form of

feelings were not to draw anything representational. No

consciousness. One became a personal breakthrough in

trees and flowers, no traditional landscape, no figures –

my own line of work; it was different that my previous

but a feeling that could be transferred from my heart and

drawings. Here is what I wrote in my artists’ statement for

mind to paper. Abstraction was the only language suitable

my first solo exhibition entitled First Level in 2000:

to convey the message. What came out that first night of creating was something of a surprise, as the end product

I first experimented with meditation about a year ago. I had

was unspeakably beautiful: a dark, voluminous enigmatic

never experienced anything extraordinary or particularly

circle. I was entranced. What was even more exciting was

memorable. Perhaps I was expecting too much or just

the act of creating, the joy and elation of seeing nothing

thinking too much. It was not until one night when I was

become something.

tired, that something did happen and I began to fall. I remembered the same feeling as a child. I let go, and finally, I drifted. A purple-colored form danced before me, allowing me to see its beauty just as it was. I did not ask of anything. I just watched and enjoyed its presence. This to me was my first level. Upon my return, I drew One: formless and with no intended boundaries. Its presence is certain.

There is no past There is no future There is only Now

The use of pencil or graphite is paramount. The texture,

Infinity has no beginning Infinity has no end

faithfully reproduce the originals. The process of drawing

There is no beginning to Now There is no end to Now There is only the infinite moment of Now

reflectance and gradations cannot be matched by any other medium I know of. No photograph has been able to

is intense and meditative -- taking you in, taking you out. The movement is contained in the back and forth motions of the hand, and less in the body; hence, the feeling is more refined and subtle. The technique is quiet and concentrated. It is exhausting, yet fulfilling. There is a sense

A new excitement poured through me and I proceeded to

of immersion and involvement where I lose myself in the

produce a series of images that appeared like energy fields,

depths of the lead, the paper, the motion and the moment.

or concentrations of energy fields similar to magnetic lines. Etched lines radiating from a central location reminded me of near death experience descriptions. Then, a combination of symbols and radiating lines began to emerge as in the example Still, where a triangle is centered upon radiating lines of energy beyond. The effect is both two and threedimensional and the feeling of space and calm becomes evident. For some, these images have a behavior not unlike mandalas, where looking and concentrating on them has the ability to transcend – but to where, I too am uncertain.

One III, 2000 Graphite on paper, 74 x 79 cm


Embryo of the Soul, II, 2002 Graphite on Paper, 74 x 79cm

Although the basis for my graphite work originates from an emotional awakening, the work in my graphite series is intellectual and analytical. It is comprised of my investigations into consciousness, and the notion that conceptual ideas such such as perception, awareness and non-physical entities could have a representational presence in the form of graphite on paper. Therefore, in the artwork Embryo of the Soul, I am offering a physical drawing that encapsulates the embryo (physical manifestation/form) of the soul (non-physical/conceptual).


Embryo of Awareness IV, 2006 Graphite on paper, 67 x 86 cm


Embryo of Perception II, 2006 Graphite on paper, ~ 480 x 48 cm diameter


There II, 2002 Graphite on paper, 50 x 65 cm


Zygote, 2007 Graphite on paper, 84 x 110 cm

Based on my initial drawing Embryo of the Soul, it seemed apparent that this 'embryo' could divide and split into two. Zygote therefore became one of the evolutionary permutations from the series. By definition, zygote is a fertilized egg that is the union of a female gamete (egg) and male gamete (sperm). In my version, I have opted to choose the moment of the actual splitting of the souls, where the one cell becomes two. Perhaps this is how new souls are created, prior to birth of the physical form.


Paintings Where graphites provided glimpses into his deeper sub-conscious, it was acrylics that gave Norm’s thoughts full voice - a vocabulary exciting and rich in both colour and form. His visual language of choice is that of abstraction....

Infinity, No. 5, 2015 Mixed-media on wood, 92 x 92 cm

I have always been intrigued by the idea of infinity. It represents the spiritual, the unending existence (or nonexistence) of consciousness. The symbol itself, much like the circle, found its way into my work, after contemplating how I should actualize the artwork. Would it be through the use of graphics or should it be raw and unrefined? Initially, I thought of making all the works through the use of computer graphics, but it was not the language that materialized; rather, it was through the use of using paints, canvas and wood.

Infinity, No. 5 depicts a fiery red-orange landscape and reminds me of the creative forces at play. For those familiar with the Tarot, it is akin to the Two of Pentacles and the Three of Wands. It represents a new frontier of creative energy (fire) and the dialectic of the rational and the irrational, between physical form and spiritual, which is symbolized by the lemniscate (∞ ) or infinity symbol.


Infinity, No. 4, 2015 Mixed-media on wood, 92 x 92 cm


Infinity, No. 3, 2015 Mixed media on wood, 60 x 60 cm


Infinity, No. 1, 2015 Mixed-media on canvas. 70 x 70 cm SOLD


Petals from the Anointed, 2015 Acrylic on canvas, 152 x 96 cm

In the act of painting, I have always been conscious of how I paint and the way in which it comes in contact with the surface of canvas or wood. The motion, the gesture or force in which the paint is applied is a part of making marks. In many of my earlier works, I was already aware of how I wanted the paint to appear on the surface, and made attempts even to hide certain brushstroke on the canvas.

In the Abstract Series 2015, my working tools in this case is both a brush and a piece of cloth. I apply the paint first with a brush, vigorously putting on globs of paint onto the canvas. Subsequently, I use a wetted cloth to spread the paint, thereby creating my ‘ground’ or first layer. I have no specific agenda nor a description; it is purely abstract. The sweeping and gentle pull of the cloth as it streaks the surface of the canvas is exciting and beautiful, especially when two colors are applied simultaneously. As usual, the process (if its feelings could only be recorded) is so crucial the to process of creating art.


Symphony from the Divine, 2015 Acrylic on canvas, 152 x 96 cm


Visitation of Aurora, 2015 Acrylic on canvas. 100 x 100 cm


Dance of the Halycon Birds, 2015 Acrylic on canvas 100 x 100 cm


Lava Basalt 2, 2010 Acrylic on canvas, 157 x 97 cm

After not painting for a number of months, I needed to do something to relieve me of the stress I was experiencing. I believe I was looking for some kind of structure in my life and needed to calm my mind. I decided to work with a simple palette of red and light blue hues in solid colors, intermixed with straight vertical lines delineating the surface. It was liberating and very exciting to see the pieces form, much like painting by numbers. Again, there is a sense of meditation in the work from the artist point of view. They are detached from a direct emotional feeling and provided me with the perfect escape.


Lava Basalt 3, 2010 Acrylic on canvas, 157 x 97 cm


Windows of Memory, No. 2, 2015 Acrylic on canvas, 100 x 100 cm

Patches of color in a field of background pastels. This the physical manifestations of listening to impressionistic emotional music compositions that brings a sense of peace and serenity in the frenzied city of Hong Kong. The patches of color are created first as an under-layer, and subsequently covered by more layers of varying shades, usually in pastel colors. The painting evokes contemplation and peace, besides reflection. Looking at the artwork close-up, there is an intense connection between the colors and nuances, and of the being-ness of the painting.


Windows of Memory, 2004 Acrylic on canvas, 126 x 151 cm


Secret Constellations, 2004 Acrylic on canvas, 113 x 88 cm


Lust, 2013 Mixed-media on canvas, 100 x 100 cm

In 2012 I had set myself the goal of finding a new way of combining black and white photography and painting, but without going the route of using an inkjet printer and canvas (although the option to do so in the future still lies firmly in my mind). I was seeking something highly textural and tactile, where the surface expression of paint and photography could combine successfully, but without it needing to perfect or pristine. I found the ideal working method through a process of image transfers using a printer, paper and/or acetate, and acrylic gel medium. The process is a relatively simple procedure not unlike transferring a tattoo sticker onto your arm. The resulting artwork has a vintage or distressed look that is appealing.

In 2012, I curated a group exhibition entitled Seven Deadly Sins at Voxfire Gallery. The idea was based on how I was suffocating as a young adult when confronted by Christian beliefs regarding homosexuality. The sins were considered evil, and had the power to send you to the pits of hell. Rather than using women or abstraction to represent the sins, I opted to use animals and color to convey the message of violation of God’s will.


Pride, 2012 Mixed-media on canvas, 100 x 100 cm SOLD


Envy, 2013 Mixed-media on wood. 90 x 90 cm SOLD


Greed, 2013 Mixed-media on wood. 60 x 60 cm


Sloth, 2013 Mixed-media on wood, 90 x 90 cm SOLD


Gluttony, 2012 Mixed-media on wood. 60 x 60 cm


Sinha is here, 2013 Mixed-media on canvas, 90 x 90 cm


I see you; you see me, 2012 Mixed-media on wood. 30 x 40 cm SOLD

There is something very powerful in very good portraiture, whether it be a photograph or a painting. A portrait can conjuer the spirit and soul; it can transport you. Memories embodied in the face of another. The eyes are said to be the window to the soul, and I agree. Correct lighting of course is necessary. This portrait of John was my first artwork once I had refined the technique of transfering toner onto wood. The aged technique and imperfections of the transfer lends itself to the beauty and mystery of the image. Since then, I have taken high contrast portraits of all my models. The works are small and somewhat precious, but very compelling when you are able to hold it in your hands.


Heaven is here, 2015 Mixed-media on wood, 41 x 61 cm


Creation, not by chance, No. 2, 2015 Mixed-media on wood, 44 x 30 cm


We both lied, 2015 Mixed-media on wood, 30 x 44 cm SOLD


Will you remember?, 2015, Mixed-media on wood. 30 x 44 cm


I know you; you know me, No. 2, 2015 Mixed-media on wood, 44 x 30 cm



With the publication of this new collection of the

In the gradually more relaxed atmosphere of the 21st

photographic art of Norm Yip it becomes increasing

century, a time when laws and traditions and social mores

clear that this innovative artist of the camera is joining

change frequently, the presentation of the photography

the ranks of the important photographers of the male

of the male nude has not only gained in appreciation in the

nude. The tenor of the times is far more conducive to

many books devoted to the subject, but also in the museum

placing before the public the majestic beauty of the male

exhibitions which are electing to focus on photographs of

form in photographic imagery, though the path to this

the male nude form. And in retrospect Norm Yip’s three

current sense of freedom of expression has been an

volumes of the Asian Male parallel that acceptance. He is

arduous one. Since Norm Yip is now in the realm of the

becoming accepted as one of the masters of male nude

established photographers of the male nude - along with

imagery in perhaps the most difficult arena for presenting

such current internationally acclaimed artists such as

his eloquent images - the Asian world. But it is to his credit

George Platt Lynes, Robert Mapplethorpe, Herb Ritts,

that he has chosen his own vocabulary, a conversation

Bruce Weber, David Vance, Paul Freeman, Dylan Rosser,

between the artist and model, that lifts his art to a higher

Reed Massengill, David Leddick, Louis Lasalle, Jeff Palmer

less controversial level. Yip’s achievements now echo that

and Rick Day among others - it is imperative to trace his

above mentioned 5th century Chinese pinhole camera

ascendancy through a history of photography, focusing on

that was the beginning. And this volume is his finest work

photographers who initiated the art of presenting the male

to date, Asian men from many countries all in command of

nude with the camera as opposed to painting or sculpture.

the beauty of the human male physique - and Norm Yip has

And that journey is found in the Foreword of this volume.

captured it all. Grady Harp, November 14, 2014 Hall of Fame Reviewer On The Asian Male - 3.AM publication

Loren, No. 1, 2010

Part of my process in photographing the nude against a minimal black or grey backdrop is to have the model go from standing to sitting, then crouching and finally lying positions. It gives variety to poses other than the ubiquitous standing pose. In addition to that, there is an infinite number of choices on what one can do given that lighting can move or shift within each of the poses. With Loren, the approach was exactly the same. The photograph on this page was the result from the standing position and image on the following page in a sitting position.

Fellow artist Richard Winkworth visited my studio to see my work and we talked about these two photographs. He described the sitting pose as such: it’s as if someone had suddenly just walked into the room while he was undressed but it has left him completely unshaken. I think that describes Loren to the point, with his haughty expression, full of confidence. The standing pose however takes on a slightly different feeling, conveying a sense of foreboding and uncertainty in spite of the relaxed contrapposto stance. Because of this ambiguity, I find the photograph intriguing, and one of the most sophisticated nudes I have ever taken.


Loren, No. 2, 2010


Nono, No. 2, 2011

In this photograph of Nono, my instruction to him was to simply move on the floor, in any way that he felt comfortable, as I shot him from above standing on a ladder. Given that the floor was concrete, it could not have been comfortable. The process is actually not that difficult nor was it complex, although knowing where to position the light was crucial. When I shoot like this, I am not seeking a specified form or shape; I’m looking for an abstract composition from the human body not unlike sculpture artist Andy Goldsworthy when he throws branches into the wind and photographs them as they free-fall Somewhere, in one of the shots, there is something. We just have to look for it.


Ricky, No. 2, 2010

When photographing the human body, I tend to use a strong contrast between light and shadows tempered by very soft lighting and diffusers. In shooting Rick, we started out with a full set of clothes for him to wear, and progressively moved to the point where he was nude. A proficient contemporary dancer and performer, Rick improvised a set of moves from which I found these several images highly poetic, balanced and symmetrical. The image on the right is one of them. For a more severe look, I opted to reduce the contrast between Rick’s body and the stark white background by making his already fair skin whiter.


Barry, No. 3, 2014

Dolphins. It was a word used by a friend to describe Asian men’s skin -- smooth and hairless for 95% of the body. Photographed in November 2014, I was fortunate enough to have the opportunity to reacquaint myself with a former assistant in my Sheung Wan studio from years ago. Barry was a young student studying architecture, very impressionable and hyperactive. He always needed something to do. Years later today, he hasn’t changed, with exception to his to physical attributes. He matured to a young man with a body defined by his diligent dragon boat practices. Our time was rather short in the studio, so I worked rather quickly and decided that he become an object of art. I decided to capture the beauty of his legs and buttocks in what Herb Ritts may have done with Japanese soccer player Kazu, where form, lighting and composition all played a vital part to the sculptural image of the photograph.


Milkboy, 2008

Above any other photographs I’ve done, this image of Derek Chong with milk poured over his body is one of the most memorable images I have had the honor and privilege to be a part of. The idea came to me over the course of several months, thinking about what I could do with Derek. Partly inspired by Richard Avedon’s superb photograph Swarm, I thought of something similar and instructed Derek to remain poised and serious throughout the shoot. Our first attempt was unsuccessful. In our second attempt, my business partner accidentally dumped the whole carton of milk over him in one go even; it was supposed to drizzle down slowly on his body. Everyone kept silent when suddenly Derek lost his composure and burst into laughter. At that moment, I got the shot.


Monika, No. 1, 2012

In my last set of photographing Monika, I had posed him at my table. As one of my favorite props, I felt certain that I could get something special from him. Where I would either cover the table with a black cloth or simply have the model lie on its bare surface in most of my other shoots, for this shot I applied baby oil over the entire surface to give it a slick wet look. As the case was, Monika too was oiled and so it made for a challenging shoot. Being the sport he was, Monika worked the table like a stage, positioning and balancing his muscular physique with great agility and grace. This shot was captured while he was transitioning from one pose to another.


Feels like I don’t belong, No. 3, 2014

No one wants to hear or see the struggles or insecurities we have in life, especially when there is so much pressure to look good, to be financially sucessful, to be the right person in the eyes of the other. Everyone will say that we must love our selves first, but not know how to do that. There isn’t one class in school that teaches us how to live as human beings with the idea that humanity comes first. We have to learn the hard way by tripping over ourselves and perhaps, hurting a few others in the search. This photograph is a multiple exposure image of the same guy looking at himself in the nude, as he identifies with his own sorrow and grief.


Reclining Cyrus, No. 3, 2014

Nearly two hours of shooting has already transpired before reaching to this particular stage. Cyrus’ fear and inhibitions seemed to completely subside, allowing him to freely express himself to me and the camera. Covering the sofa with a large sheet of cloth, I decided light him by bouncing a strobe off from the ceiling. I did not provide Cyrus with any posing instructions or what to project for me; it came from him. Spontaneity. Looking into the viewfinder and on eventually on the monitor, I could only be in awe over the sheer beauty of form, color and expression.


Exhibitions, Recognition & Events June 2015, Pride Art Exhibition, Group exhibition, Clifford

July 29, 2013. Collections, Selected artwork Greed in a group

Chance, Hong Kong

online exhibition, Saatchionline, London.

May 2015. Selected artwork Infinity, No. 4 in curated collection

July 26, 2013. Story of the Creative, Selected 3 image transfer

New This Week - 5-25-2015 by Saatchi Art (online), Los Angeles.

artworks to appear in See | Exhibition Space, Angel Orensanz Foundation, New York.

May 2015. Selected artwork Infinity, No. 3 in curated collection New This Week - 5-11-2015 by Saatchi Art (online), Los Angeles.

November 2012. Curator and exhibitor. Seven Deadly Sins, Voxfire Gallery, Hong Kong.

May 2015. Selected artwork Spring rejoicing in curated collection Bright Abstracts for under $2,000 by Saatchi Art (online), Los

August 2011. Group exhibition RetreAttack – RA Vol. 2, Selected


photographs of Janice, Dahlia Gallery, Singapore.

April 2015. Selected artwork Heaven is here in curated collection

February 2011. Group exhibition Heat, Selected photograph and

New This Week - 5-4-2015 by Saatchi Art (online), Los Angeles.

painting, Charity Art Sale for Hong Kong Aids Foundation, Voxfire Gallery, Hong Kong.

April 2015. Selected artwork Infinity, No. 1 in curated collection All Things Abstract by Saatchi Art (online), Los Angeles.

November 2009. Group exhibition. Selected graphite Verge V. Zonta Club of Hong Kong II. Charity Art Sale. Rotunda, Exchange

April 2015. Selected artwork Will you remember? in curated

Square, Hong Kong.

collection New Portraits by Saatchi Art (online), Los Angeles. May - June 2009. Oxford Pride 2009. Group exhibition to the December 2014. Embryo, Solo graphite drawing exhibition, L’s

theme of 1969 Stonewall. Two bondage photographs were

Where, Hong Kong

selected to appear in the show. Oxford, UK.

October 2014. The Asian Male, solo photography exhibition,

December 2008. Group exhibition. Curated and participated in

Gallery Box, Zurich, Switzerland.

the charity art auction Sexpression benefiting Horizons Group in Hong Kong, Studio 8 HK, Hong Kong.

October 2014. Andy Warhol X Absolut, group exhibition, Pink Season Factor, Azure Restaurant, Hong Kong.

September 2006. Solo Exhibition, Skin Deep, Selected photographs of the new male nude/semi-nude photography,

October - November 2013. Cool on the Inside; Hot on the Outside,

Baileys at the Fringe - Fotogalerie, Hong Kong.

photography exhibition, Studio 8 HK, Hong Kong. November - December 2005. Group exhibition, Gay Artists: Gay July - August 2013. The Narcissist, photography exhibition, Studio

Art?, Selected photographs of The Asian Male, Art Statements,

8 HK, Hong Kong.

Hong Kong.


August 2005. Solo exhibition, NudeNotNaked, Selected

March 2002. Artist and curator of a group exhibition Buddha

photographs of the Male Nude, Three Boxes, Hong Kong.

Buddha. Other artists include Neung (Thailand) and Gavin Tu (Hong Kong), Studio 8, Hong Kong.

April 2005. Group exhibition, Moonstruck, Acrylic painting submission, Club 64 and the Venice Biennale 2005, Hong Kong

November 2001. Solo Exhibition Navigation. Selected paintings,

and Venice.

drawings and photographs. Studio 8, Hong Kong.

March-April 2005. Selected group exhibition, Nasi Campur,

March 2000. Solo Exhibition First Level, exhibition of graphite

exhibition of acrylic paintings, Gallery Taksu, Kuala Lumpur.

drawings, Meli-Melo Artists Alliance, Hong Kong.

October 2004. Selected artist featuring selected graphite images

January 2000. Co-curator/Exhibitor Light + Shadow, black & white

to appear in art book Eyes of the Soul – Exploring Inspiration in Art;

photography, Meli-Melo Artists Alliance, Hong Kong.

written and compiled by Philip Rubinov-Jacobson; foreword by Ken Wilber. RRR Publishers, Germany, 2004.

October 1999. Co-curator/Exhibitor Entanglement, group exhibition, mixed media, Meli-Melo Artists Alliance, Hong Kong.

August 2004. Selected Group Exhibition, Private Edge, selected fine art photographs, B2G Gallery, Singapore. June 2004. Solo Exhibition, Secret Constellations, exhibition of acrylic paintings, Studio 8, Hong Kong. November - December 2003. Group Exhibition, Art in The Winter Gardens Exhibition, selected paintings, Lee Garden, Causeway Bay, Hong Kong June - July 2002. Solo Exhibition, Persona of Spirit, exhibition of new graphite drawings and paintings, Studio 8, Hong Kong. May 2003. Solo Exhibition Intrepid Terrain, exhibition of paintings. E&J Gallo Gallery, The Fringe Club, Hong Kong. June - July 2002. Solo Exhibition, Embryo of Intelligence, exhibition of graphite drawings, Home Boutique, Hong Kong. May - June 2002. Solo exhibition, Verge, exhibition of paintings and graphite drawings, 5 opt Studio / Gallery, Hong Kong.

Publications by Norm Yip The Asian Male - 3.AM, Hardcover, 112 pages, Studio 8 Hong Kong Publishing Ltd. 2014. Beaux, V1 - Vanity, Softcover, 96 pages, Studio 8 Hong Kong Publishing Ltd. 2012. The Asian Male - 2.AM, Hardcover, 68 pages, Studio 8 Hong Kong Publishing Ltd. 2007. The Asian Male - 1.AM, Hardcover, 48 pages, Studio 8 Hong Kong Publishing Ltd. 2005.


Office & Studio Room 809, 8/F Hong Kong Chai Wan Industrial Building 26 Lee Chung Street Chai Wan, Hong Kong T: +852 2540 6267 M: +852 6838 8948 E:

Design, text and photography by Norm Yip

Copyright Š Norm Yip 2015. All rights reserved. No part of this book may be used or reproduced in any manner without written permission except in the case of brief quotations embodied in critical articles and reviews.


Norm Yip Fine Art Portfolio | 10 06 15  

My fine art portfolio consisting of selected artworks in painting, graphite drawings and photography. This will be continually updated as ti...

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