The collecting is about collecting memories. As a designer, as a creator, I keep reminding myself, how could I move on, how could I learn more, and I find collecting is the best solution of all. I'm so excited to be here because I have heard and read so much about this space. Can you tell us more about the Salon 27? It was curated for my birthday to celebrate my 70 birthday last year. So I basically transformed this Gary's Bay into a private home, like a mini museum, collectors, retaliate, whatever you call it. I can see the space is bursting in creativity, and right at the entrance, I saw this painting by Zinfeng Zhu. You paired it with a table from Louis XVI in period, and that is so rare to see in Hong Kong. What I like is simplicity, it's very elegant, it has a bit of shong-dain, it's kind of simple, very simple, and has a variation, subtle Asian touch, because you're mastery. And look at the centerpiece, it's just so beautiful, because it works so well with the decorative arts around. I can see the mixture from different culture and history. What we have there is that Ming Dynasty Closon A table scroll. Or the deposition of objects on this table and everywhere in the room, it's actually trying to create contrast, create conversation, create stories. It's about how I put objects on the table to drive the emotion of your eye, to move around and see things. I would call that a performer. When I set up this table, the room is like a performer. And here this cat is actually from the 18th century, Louis XI, the porcelain part, is from China. It is from the Chen Long period, and the base is a French bronze base. And it was once collected by one of the most important collector, Madame de Pompatour. The piece was created by this Moshe-Massier, it's a tastemaker at the time, very well known, and just like you today, Alan, bringing all these beautiful objects together. I have to admit, I think that France really understands what XI-Masserie is all about, how the Yismis were. The verse reminds me, it's such a style, it's way to embrace what we have in this room. And how about this huge painting? Well, here's my eye, I always want to collect as well. And then I have a couple of his collègues. And this is a Chinese character of both. It actually composed two main brushstrokes, one at the back. At the last one, like a horizontal brush, which spring from the left to the right, simultaneously, it's built over the entire white space to create the dimension of the painting. But what it means actually is that it's just the movement of the boat. That's the rep of the water. Life is journey, we have to move on. Now, this drawing meant I hosted three pieces of artwork. Murakami, New Year, and also this beautiful Chinese screen. You can see this green line. Actually, it's my light installation about my memory, about the Arakashiyama in Kyoto, the bamboo forest. I think that work in the ancient perspective. And that's also part of my landscape concept. On the other wall where I have all the landscape, so New Year, this really interesting painting, the major part of it, my mind, my laundry, my Chinese window. So that is part of landscape. Murakami, smiling faces, flowers, in the landscape. You see it later, you see flowers. That's how they come together. Well, personally, I think the music room is my favourite. Because the atmosphere you create, is there any reason you pick these two paintings here? You look and figure the scene and the drew the trend. To me, it's the same kind of emotion. It's about staging. Of course, collecting is important in my life, because I'm a designer, I'm a curator, and I'm also a young artist. So, full collecting, there's so much to learn from. And where are the objects from the screen market? I got it from Art dealer, a vintage shop. For even auction houses, it's whole and psychopedia of lords that you can get home in your hand.