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How US painter became Hong Kong Artists Association’s first non-Chinese member

Vermont native Nissa Kauppila talks about fusing Eastern and Western painting styles on discarded materials following her recent induction

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Nissa Kauppila at her home studio in Mui Wo on Hong Kong’s Lantau Island. The Vermont native, who recently became the first non-ethnic-Chinese practitioner accepted into the Hong Kong Artists Association, specialises in painting natural motifs on discarded materials. Photo: Nissa Kauppila
Chloe Loung

In January, the American-born artist Nissa Kauppila was accepted into the Hong Kong Artists Association, a professional organisation founded in 2014 to promote traditional Chinese culture, becoming the first non-ethnic-Chinese practitioner admitted into its midst.

The association chairman, Lam Tianxing, an ink painter, has high praise for the 43-year-old Lantau Island resident.

“When I first saw her work, I was particularly impressed,” he says. “She possesses exquisite painting skills while conveying a uniquely Eastern artistic atmosphere – ethereal and full of vitality.”

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What makes her work distinctive is not that she has simply adopted a Chinese aesthetic, but that she has fused it with Western techniques into a single, cohesive vision.

From the East, she has absorbed the technical rigour of classical brush-and-ink painting, combining the flowing line work, washes of colour and the philosophical use of negative space. Executed with Chinese brushes on rice paper, her earlier works are also anchored by a Western realism that recalls a naturalist’s field guide.
A mixed-media piece Nissa Kauppila made in 2025, painted on discarded materials found on the beach near her home on Hong Kong’s Lantau Island. Photo: Nissa Kauppila
A mixed-media piece Nissa Kauppila made in 2025, painted on discarded materials found on the beach near her home on Hong Kong’s Lantau Island. Photo: Nissa Kauppila

Her birds and butterflies are not mere poetic abstractions; they are biologically accurate specimens, capturing the individual barbs of a feather or the articulated joints of a leg with scientific precision. The result is a body of work that exists in the liminal space between hemispheres.

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