Epiphany uses the deeds of the late "King of Kowloon" as a reference to discuss the cultural identity and conservation issue and the possibilities of public art in Hong Kong. As a metaphor, the different lighting patterns represent the apparitions of the King's spirit in front of the ruins of his remaining calligraphic works.
Tsang Tsou-choi (1921-2007), claimed himself "The King of Kowloon", was a Hong Kong original, who never saw himself as an artist but was hailed internationally as one. Tsang spent five decades roaming the metropolis, scrawling his idiosyncratic calligraphy on walls, lamp-posts, electrical boxes and pedestrian underpasses. He is a controversial figure in Hong Kong. While some have criticised him for damaging public property, others regard his rebellious writings as a courageous attempt to defy convention and authority.
Some say his calligraphy, peppered with obscenities and abuse toward Britain's Queen Elizabeth, is naive and an eyesore. But its quintessential Hong Kong symbolism has inspired other artists and has drawn international acclaim.
It was rumored that when he died in 2007, Tsang had created more than 50,000 pieces of work in the streets. But now his works are in danger of vanishing completely and only a few remain.
Epiphany has been exhibited in Hong Kong in 2009.