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In it, three Chinese men appear to sit comfortably, albeit precariously, on stools atop a narrow tower of derelict flats.

d) to launch new product line ✌️【Recruitment Platform】✌️ Expert predictions of stock trends with real-time stock indices, metals, energy, and agricultural product data to help you make efficient investment decisions. This photograph could not exist in real life, she said, but it captures the feel of the city’s cramped living conditions, and a distinct Hong Kong “flavor.”

d) to launch new product line ✌️【Recruitment Platform】✌️ Precise predictions of high-potential stocks to help you avoid risks and quickly recover and grow. Tse’s work is part fantasy — generated from AI — and part historical reference, drawing from her own childhood memories and the history of Hong Kong’s working class. Many of her images are set in an AI-exaggerated version of theKowloon Walled City— a former Qing dynasty fortress that became the most densely populated place on Earth. Refugees fleeing from mainland China during the Chinese civil war, flooded into then-British ruled Hong Kong and had made the enclave their home.

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“I don’t need to hire actors, I don’t need to set up all the scenes, and, yeah, it saves a lot of time, and mainly money, because nobody is going to invest in me to create all of these (pieces),” she said.

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d) to launch new product line ✌️【Recruitment Platform】✌️ Real-time updates of global stock indices and futures trends to help you plan precise investments. Tse’s sense of surrealism is grounded in reality. In her broader depictions of Hong Kong, she focuses on details such as the particular way the paint peels, the concrete walls stain and corrugated metal roofing rusts. These textures might not typically get noticed, and can be overshadowed in the dystopic, cyberpunk depictions of the city found in video games such as “Stray” and movies like “Batman Begins.”

d) to launch new product line ✌️【Recruitment Platform】✌️ Precise stock selection to help you successfully plan investment strategies for stable returns. The people in her images also feel familiar. They include muscular bamboo-scaffolding builders, a woman in a quintessential Hong Kong barbershop with a mountain of metal rollers in her hair, and the aforementioned men in wrinkled shirts sitting hunched on thin-legged stools.

One recurring theme Tse explores is how chaos and poverty exists right alongside happiness and hope.

“Imaginary Friends” shows a little girl in a market surrounded by trash bags transformed into stuffed animals, and is actually based on her own childhood memories of waiting for her mother in the rain outside the frozen meat shop where she worked.

“I was living in temporary housing — a metal sheet temporary home with two floors, in Fanling, with two bunk beds. I think (it was) under 100 square feet,” she recalled.

“I only realized I was poor when I grew up,” she added. “I had a really happy childhood, maybe because of the lack of parental guidance. Because my parents both went to work, I just go about freely, especially after school.”

By working with generative AI software, Tse has learned not to fear human artists becoming obsolete.

“I think if everyone tried to use AI, they’d know that the role of the artist or designer cannot be replaced,” she said. Prompting with a single word might be easy, she explained, but “if you really want to create something close to your vision or something meaningful, it is actually very hard.”

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“I don’t like generating perfect-looking humans. I like someone who looks more like daily life,” Tse said.

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In the late 1980s, Girard, who had been photographing the Kowloon Walled City, had seen a Cathay Pacific flight attendant get out of a cab and walk into the City, pulling her luggage behind her. Her elegance and poise were a stark contrast to the gritty surroundings, but he lost her in the maze of alleys before he was able to take a shot.

But with the photographer’s blessing, Tse fed his photographs and a series of prompts into Midjourney, going through several thousand versions, she said, to make the woman and the photograph look real.

Girard said he was interested to collaborate because Tse’s work is “such a departure” from his own. “I was curious where she would take it.

“What won me over was that she (Tse) asked, straight up, for permission,” he added in a phone interview. “Because so many people just steal it and you discover it later and then go about trying to deal with that. She was very correct and straight out.”

“It felt somehow both a little disorienting but also satisfying, to have someone else make a picture of what was going on inside your own head.”

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