In a small studio in Hong Kong's Kwun Tong district, artist and carpenter Lam Che is quietly rewriting the story of waste. Where others see discarded wood and fallen trees, Lam sees potential. His work challenges how we think about what's thrown away and what deserves to stay around.

Lam began salvaging fallen trees and construction waste in 2003, long before "upcycling" became a buzzword. Each piece he collects — camphor, teak, or other local woods — spends years drying before being sculpted into stools, cabinets, or intricate installations.

At the Tzu Chi Environmental Action Centre in Tai Wai, his striking piece "School of Sharks," composed of more than 100 hand-carved sharks made entirely from reclaimed timber, became a symbol of coexistence between nature and industry. 

"Trees and sea creatures share space with those who use and discard them with little thought," Lam told the South China Morning Post, describing the work's intent.

His approach is rooted in craft, patience, and reverence for material. 

"It takes me two days to make a stool out of a stump," he explained. "Some people don't get that it's truly one-of-a-kind. Everything is made by hand and no two are the same."

Lam's environmental philosophy took shape decades ago, when he noticed how construction projects across Hong Kong were sending perfectly usable timber straight to landfills. 

"The trees we use have been alive for years — some longer than our own time on earth," he said. "It's not right to bin them because we're bored with how they look." 

That conviction drives his art today: to show that sustainability and beauty can coexist, and that craftsmanship is its own quiet form of activism.

Beyond exhibitions, Lam passes on his knowledge through workshops at the Hong Kong Intangible Cultural Heritage Centre, teaching small groups of students how to read wood grain, handle tools, and "unlock the story within every piece of timber." He has also collaborated with local artists on projects such as the Island Log pavilion for the Sai Kung Hoi Arts Festival.

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Though now in his mid-60s, Lam has no plans to retire. His studio may be cramped with half-finished works and rescued logs, but he sees each piece as a promise. 

"If I can keep doing this until I'm 80 or 90, I will," he said. "What would I do with myself? I can't always be on holiday."

Lam's art blurs the line between sculpture and stewardship, showing that true craftsmanship can both preserve tradition and protect the planet. His work stands as both a protest against waste and a celebration of the beauty hidden in what we discard.

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