In this edition of Ritzy Chat, we speak with May Yeung, the artist and founder of Art of MY Family. A sculptor by trade, Yeung possesses a unique practice defined by her exploration of mass, space, and the emotional resonance of form. Her personal journey—marked by experiences with hearing loss and a profound belief in the power of music—led her to create Ripples of the Sound. This initiative merges her sculptural background with a deep commitment to accessibility, transforming music into an embodied, multisensory experience that transcends the traditional auditory barrier.
1. You’ve described Ripples of the Sound as a sensory bridge. Can you share a moment where a participant truly connected with music through vibration or touch?
A standout moment occurred during our September 2025 workshop with students from the Lutheran School for the Deaf. Inspired by musicians like Ravel and artists like Kandinsky, we invited them to express rhythm through drawing. Seeing them translate melody into sweeping movements and patterns was profound—they were “hearing” through sight and bodily awareness. Later, with the Urban Renewal Authority, we unveiled a vibrating, interactive installation. Watching students place their hands on the surface, eyes lighting up as they felt the resonance, was transformative. One parent told me it was the first time her child had truly “felt the music.”
2. As a sculptor, how does your background influence this multi-sensory approach, especially when using instruments like the ocean drum?
I instinctively think in terms of mass, space, and resonance. Even in sound, I am shaping physical and emotional volume. This philosophy bridges my international exhibitions—from the Louvre to Tokyo—with Ripples of the Sound. When percussionist Gip Chan and I use instruments like the wooden frog guiro or ocean drum, we treat them as tactile forms rather than just sound-makers. The frog’s ridges turn friction into rhythm, like carving wood, while the ocean drum becomes a shifting, vibrating landscape. The body completes the work, turning sound into an embodied experience.
3. Balancing inclusion between the 333 Families from 333 Learning Companion Leadership Programme and students from the Lutheran School for the Deaf has unique challenges. How do you foster that connection?
True inclusion goes beyond sign language or technology; it requires reimagining the nature of the experience itself. My own journey with hearing challenge taught me that music is not a binary of “can or cannot hear.” Communication barriers are real, so we design around vibration, texture, and visual rhythm. By working patiently, we let trust grow. Ultimately, we create a space where music is not something you listen to, but something you feel together, grounded in faith, hope, and love.
4. Sustainability is a pillar of Art of MY Family. How does this manifest in your materials and execution?
Sustainability for us is both environmental and social. It is about honoring stories and using what exists. In Ripples of the Sound, participants created shakers from braided nuts, transforming organic matter into instruments. In our Mizu project, we upcycled marine materials to preserve the oral histories of Aberdeen fishermen. Whether it is reducing waste or nurturing intergenerational dialogue, our work aims to be responsible, meaningful, and deeply rooted in the community’s own narrative.
5. As this initiative moves from The Hall to DX Design Hub and beyond, what is your long-term vision for accessibility in Hong Kong’s art scene?
With the support of the French May Arts Festival and Executive Director Mr. Mehdi Brit, we have evolved into an expansive, interactive platform. My vision is to place accessibility at the very start of the creative process, ensuring Deaf culture is recognized as a vital source of artistic insight.
As we look forward to our September 2026 presentation at The Mills CHAT, I hope to continue fostering a landscape where inclusion is instinctive, and “visual music” remains a powerful tool for dialogue between all communities.
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