In partnership with Hong Kong Tourism
Each March, Hong Kong transforms into a global crossroads for contemporary creativity. From (Mar 27-29) to the (Mar 26-Apr 5), Hong Kong Arts Month draws collectors, institutions, and curious city-wanderers into a dense calendar of exhibitions, fairs, and public projects.
Within that ecosystem, HKwalls has carved out a vital curatorial role: translating the rarefied energy of gallery openings into large-scale, street-level encounters that reshape how people move through – and think about – the city.
Founded by in 2014 by Jason Dembski, Stan Wu and later Maria Wong, the festival has spent more than a decade commissioning international and local artists, negotiating public space, and expanding what Arts Month can look like beyond the glamour of white walls and VIP lists.
From murals and digital façades to mobile galleries and site-specific interventions, HKwalls now operates as both a platform and a provocation – asking how art can live, travel, and breathe within Hong Kong’s urban fabric. And ahead of the 2026 iteration at Hong Kong Arts Month, we spoke to Wong and Dembski about curation, public engagement, and why street art has become an indispensable part of the city’s cultural moment.
1. What was the moment that made you realise Hong Kong needed something like HKwalls?
Jason Dembski (JD): Shortly after moving to Hong Kong in 2009, I started photographing the street art and graffiti, I guess as a way to explore and get to know the city, and over time, that led me to various exhibitions, to meeting artists, and even into abandoned buildings. At the time, opportunities for artists to paint walls legally, in public, were rare and usually one-offs. So, many artists would go into abandoned buildings or out to the concrete rivers in the New Territories, where they could spend all day painting and not be disturbed. It wasn’t just local artists either. I remember finding the work of artists from Australia, America and Europe also.
However, it wasn’t until late 2013 or early 2014 probably, that I was having a beer with Stan, and I was complaining about various recent events where graffiti artists were invited to paint live at the events, but the organisers didn’t seem to care about the art or the artists at all; they were more interested in using them as means to drive traffic to their bar or restaurant. At some point, Stan just asked “why don’t we create our own event?” That sparked the idea to start a street art festival, where artists could spend time, painting in the city for the public to see.
2. Street art used to feel underground in Hong Kong – how have you seen public attitudes change over the years?
JD: I would say the most noticeable change is in awareness. In the early years, when asking for permission to paint walls, most people didn’t have any idea what we were talking about, and we would generally get one of two responses. Either “You want to paint my wall for free? Yeah, go ahead.” Or, “No, no. Go away. Don’t bother me.”
But today, pretty much everyone has an opinion. They have seen lots of murals and know what they like and don’t like and they want to be part of the process.
3. During Art Week especially, what excites you most about the energy on the streets right now?
Maria Wong (MW): Seeing people from all walks of life and across the globe gathering in Hong Kong to experience a month of high-impact, high-energy artistic experiences. It is truly a time when the city doesn’t sleep.
“Seeing people from all walks of life and across the globe gathering in Hong Kong to experience a month of high-impact, high-energy artistic experiences. It is truly a time when the city doesn’t sleep.”
4. Which neighbourhood in Hong Kong do you think best captures the city’s street-culture spirit today – and why?
MW: It depends on how you see it; if you’re looking for the concentrated “vibe” of established street art, Central and Western District is it. But if you want the raw, unfiltered energy of street culture, you have to go to Kowloon.
JD: I love Sheung Wan, which has always felt like home to me; the mix of east and west, chill restaurants and bottle shops, antiques and relatively calmer vibe… but for something more exciting, and a walk at night through the city, TST, Mong Kok and Sham Shui Po are where it’s at. There are just so many people and so much energy on the streets; much more raw and un-polished.
5. What’s one misconception people still have about street art in Hong Kong?
JD: Probably the idea that “graffiti is bad but murals are good”. I understand that it is much easier for the average person to connect with a colourful mural, of something they recognise than a stylised tag of someone’s name but graffiti shouldn’t be dismissed. The modern graffiti movement was created and cultivated by young people, has 60 years of deep culture rooted in style and self-expression, which in many ways paved the way for murals to thrive more recently. Many people painting murals actually started and have their roots in painting graffiti. So, you never know, that tag might have been written by the same person who painted the colourful mural you love.
“The modern graffiti movement was created and cultivated by young people, has 60 years of deep culture rooted in style and self-expression, which in many ways paved the way for murals to thrive more recently.”
6. You work with artists from all over the world – who have been some of your favourite to work with at HKwalls?
MW: There were so many that it is hard to call favourites. Every interaction is precious to us. As the festival has grown, we wish we could find more time just to hang out with them and worry less about festival stuff.
JD: Yeah, I don’t want to play favourites but over the years we’ve been super lucky to work with so many super talented and genuinely lovely people. No divas, mostly humble, amazing artists.
7. What are some of the highlights from the upcoming 2026 program?
MW: Building on the past few years, we are pushing beyond just the “mural” label. This year is about texture and movement. We’re thrilled to introduce “Art on the Move,” an initiative that will transform local delivery trucks into mobile galleries. The exterior is the canvas, and the interior is the exhibition. We are physically bringing the art to the people.
“Over the years we’ve been super lucky to work with so many super talented and genuinely lovely people. No divas, mostly humble, amazing artists.”
JD: We will also be back for our fourth year of digital walls, so as you float through the harbour watch out for some new animated art on the digital façades of Tsim Sha Tsui Centre and Empire Centre thanks to Sino Group. Shifting scales, French artist Théo Haggaï will be joining us with tiny artworks that will fill the cracks dotted around Central and Western District, like a poetic “treasure hunt”.
8. For young creatives in Hong Kong who want to work in the street art space, what advice would you give?
JD: You don’t need to wait for an invitation. You don’t need to be part of a festival or a program. Make your own opportunities. The street is there. Just go, try, make art.
9. Looking ahead – what do you hope Hong Kong’s streets will look and feel like 5-10 years from now?
JD: My hope is for a city that isn’t afraid of its own creativity.
MW: A city that breathes art, where the street is a recognised “creative commons”.
You can check out Hong Kong Arts Month programs now, including (Mar 21-29), (Mar 27-29), (Mar 26-Apr 5), (Mar 21-22), (Mar 23), (Mar 25-29), (Feb-Mar) and (Mar 19-Apr 12).
