Luis Chan is an important pioneer of Western painting in Hong Kong in the early 20th Century, and a significant practitioner of the modern Hong Kong artistic style in the late 20th Century. Chan, a self-taught artist, is fluent in English, gathered and absorbed new information from art magazines and a variety of publications. From the 1930s to the 1950s, Chan mainly worked with watercolour, his artist style gradually shifted from realistic representation to a freer spirited manner. In the late 1950s, modernism became vogue in the Hong Kong arts scene, resulting in the modern ink painting movement. After his close peers Li Bing and Yee Bon left Hong Kong respectively in 1955 and 1956 and settled down in Canada and Guangzhou, he began to study in breadth theories of Western cubism and Abstract Expressionism. In the 1960s, Chan experimented with new techniques and new positions in modern painting, creating unique earthly portraits (Lot 292 and 293) relating to the hippie culture. On the tableau, the figures, objects, and landscapes interchange, making it look like both a nightmare and a paradise. Shapes of men and objects are always changing without any substantial presence. Men and objects are simplified to irregularly coloured blocks. The sharp colour contrast gains control of the mysterious picture plane where there is no hint of time or space. One can see that Chan has already broken off the constraint of existential objects, and travelled in his own vision of the surroundings.