Actress Karena Lam is Living the Life Artistic

I was born and raised in Canada, but moved to Taiwan when I was 15 in order to develop my singing career. But what I really wanted to do was act. In 2001, [film director and producer] Derek Yee was producing a movie by director Ann Hui called “July Rhapsody,” starring Jacky Cheung and Anita Mui. He flew me into Hong Kong for an audition and I got the role, so I stayed.It was my first day on set when I realized, “This is what I want to do!” 

I came to Hong Kong in 2001, and since then I’ve done 20-something films. It’s not a lot. I think I’m very lucky because I really love what I do: Being a wife, a mother, an actress, and my first time curating—I love it all.

My background is a bit complicated: Japan, Taiwan, Hong Kong, Canada. I think we’re all global citizens now. Today I’m in Hong Kong; tomorrow I might be in France; the next day somewhere in Africa. I never imagined I would have the chance to visit so many places.

My sense of belonging comes from home. I follow my husband and my two daughters, and wherever they are, that’s home.

Art has always been something of an interest. I stayed in India for half a month to learn indigo dyeing; I weave my own fabric; I do ceramics; I released a Polaroid book in 2010; I hand-made 200 books dedicated to Le Corbusier with Zuni Icosahedron. So I’d say art has been an important part of my life.

One day my agent Sandy Lamb asked me: “Why don’t you share it with people? This is so educational and yet it’s inspiring.” I was like, “No, it’s a hobby!” I always felt like art was my own little haven and I didn’t want to share it. That was before I had children. But after I became a mother, I really want to curate, to bring art to Hong Kong.

I call it fate [curating this exhibition]. I didn’t get to know [artist] Inoue Yuichi—he passed away in 1985. It wasn’t until four, five years ago when I saw his “Hana” [flower] exhibition in Tokyo. It just spoke to me—it made my heart pound. That’s something about art: It’s about perspective. It’s nothing to do with logic—if it speaks to you, then it speaks to you. 

I think I have this connection with Yuichi because he’s very genuine: He wanted to explore humanity through his calligraphy, and I think I, as an actress, try to explore humanity through my roles. Even though I never met him face-to-face, I feel like he’s a long-time friend. It’s weird, I don’t know how to describe that feeling.

I really want to bring his art to Hong Kong, to introduce him to kids and people of different age groups. Then I’ll feel I have fulfilled an obligation. Hong Kong is still behind when it comes to art, and I think it has to do with education. In France, for example, many of the art museums have a whole floor dedicated to children. In Hong Kong, we don’t even have a children’s museum. 

I’m saddened by it. I have two children—my eldest loves painting, and that makes me happy. If it’s something she’s passionate about, I’ll encourage and support her.

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That’s why this exhibition is free to all. I’ve invited many organizations, like Tung Wah Group of Hospitals, schools, and artists with disabilities, to come and view the show. I don’t think you have to know how to do [art] in order to appreciate it. If you have the sensibility, you can form your own interpretation.

Since I proposed this project to Agnès b two years ago, my work in preparing the exhibition has been like that of a film director. There are always problems to solve. Whereas as an actress, I’m in my comfort zone: I don’t have to care about other people, as long as I’m in character. It’s not so easy being a curator.

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My first profession is as a mom of two daughters; second is being an actress. I’ve told myself to do just one film per year, because I want to be a full-time mom.  I’d say this is my first, not my final exhibition. Will I be a curator again? I really don’t know. I’ll just have to see how it goes—after all, it’s a passion.