Neon

While neon light signs are not unique to Hong Kong, there are few places in the world where one can find a vertical cityscape as brightly and densely illuminated by neon signs of shops and restaurants, such as the ones that can be seen in Mong Kok. Kwok et al. described this feature as an “urban skin” of Hong Kong, one that tells the distinct visual narrative of the fragrant harbour, and one that is rapidly disappearing. In 2010, many neon light signs were taken down after the Buildings Department issued statutory removal orders for unauthorised, abandoned and dilapidated signboards that can become hazardous to passers-by on the streets. In that respect, it is practical and logical to ensure the safety of members of the public as many signs were erected starting in the 1950s when the Hong Kong neon industry boomed, which since then, health and safety standards have risen greatly. 

On the other hand, neon signs serve more than just commercial purposes. They provide historical value and social functions that contribute significantly to the identity of Hong Kong and its people. Whenever an announcement is made about a historical neon sign that is due to be removed, it is followed by an outpour of emotional reaction and attention from the public and media. This response can be explained by the emotional attachment Hong Kongers have to the signs. According to Kwok, visual signs play a part in establishing one’s emotional attachment to a place, especially if the sign has been there for a long time, which can then be traced back to one’s childhood. Through everyday participation, meaning is accumulated, constructed and assigned to a place, which convey a sense of proprietorship as well as a sense of belonging with neighbours. Citing Jacobs (1961), Kwok states that this sense of proprietorship and belonging can “encourage interactive behaviour and activities among citizens for the sake of the neighbourhood, consolidate cultural characteristics of a community as well as protect citizens and their possessions.” 

Since the removal enactment, museum curators who recognise the important role of neon to the visual culture of Hong Kong have taken action to preserve the tradition, such as collecting the signs that are being taken down. From a design perspective, neon signs are objects of craftmanship, graphic design, illustration and architecture. Easily identifiable in both pop culture and cult favourites, neon signs are often reproduced in movies, video games, artworks – tying itself to the ‘cyberpunk’ aesthetic as seen in the legendary anime Ghost In The Shell (1995) and videogame Sleeping Dogs (2012).

Karen Chan is Hong Kong’s only female neon light artist. After being turned down by many neon light masters in Hong Kong, she decided to travel to multiple countries to learn the craft from other masters. In one of our conversations, Chan mentioned that Hong Kong neon light masters bend glass in a more squarely manner compared to the smooth-bend European style because it is faster and more signs could be produced that way. In this way Hong Kong has developed its own traditions and style in neon-making that differ from its European counterpart. Chan is among the few “young” neon artists in Hong Kong and her goal is to preserve the unique tradition through educating others and offering neon-making workshops specifically to women.

https://drive.google.com/drive/folders/1mJFCS9ORONqS_9b3JvdOR1UZMHQqPZnQ?usp=sharing