Margaret Yeung is a Chinese landscape painter and Chinese landscape sculptor, working and residing in Hong Kong. Like many Hong Kong artists, she grew up with a largely western education and a knowledge of both western art and Chinese painting. 

She interprets the idea of “hybridity” in her paintings and 3D works through

the use of both traditional Chinese brush & ink, with the modern tools and materials, so as to combine ancient and contemporary thoughts, cultivating a hybrid form of Chinese art.

Under this concept, Yeung has developed two art forms.

First of all is her painting. She likes painting the aerial landscapes, which may be the scenes from the Google Maps, or the International Space Station, together with some Hong Kong “Textspeak” vaguely shown, so as to point out how technology can change people's understanding of landscapes. She also likes generating ink images by computer software, expressing Hong Kong’s distinctive blending or integration of eastern and western culture in both its spoken and written language.

Secondly, her sculpture. By making use of up-cycle industrial materials such as copper wire with completely natural materials such as dead trunk, an ancient tranquil, poetic and lush landscape with trees reappears lively. It is a 3D way to visualize the hybridity of traditional landscape painting theory and the concept of contemporary environmental protection.

Yeung’s painting and sculpture are both an object and a metaphor, demonstrating the new natural cycle of birth, death, and rebirth. With a whole new approach to the Chinese philosophy of Heaven and Man, she directly responds to the surrounding environment and uses everyday experiences as a starting point. Moreover, her works celebrate the hybrid state and metaphorically comment on the demands of cultural assimilation.

楊國芬於香港出生及成長，從事現代山水畫及現代山水雕塑創作。

其創作以「混雜」為理念，創作時一方面運用傳統中國繪畫工具，同時又運用現代科技生活工具，例如電腦，掃瞄器，印表機，廢棄銅線，工業廢料等，務求串聯遠古和現代的思想，創造「混雜式」的中國藝術。

其作品具兩種形式。

首先是繪畫，她愛手繪高空視角的山水，把從谷歌地圖、國際太空站下望的景象，加入隱約的香港「火星文」，示現科技如何改變人對山水的理解；也愛把手繪作品以電腦軟件調整和加效，示現當代香港東西文字混雜的文化現象。

其次是雕塑。她愛把升級再造的工業廢料如銅線等，混雜自然枯毀的樹頭，營造出饒富靜謐和詩情的中國傳統山林意境，目的在於探究傳統山水美學和當代環保意識「混雜」的可行性。

從楊氏的繪畫和雕塑，可窺見其「生、死、再生」的自然循環觀，是傳統「天人合一」哲學思想的延續版；更見她每以現世生活經驗入手，回應當今環境和社會現況，表出其對「混雜」狀況以及文化同化的關注。