Hong Kong artists have long been interested in deploying everyday experience, ubiquitous materials and visual elements from popular culture in art making.

A similar trend is observed in the production of protest props for social movements in recent years. This thesis will investigate artistic strategies of local artists and objects created or performances by people as protestors during and after the Umbrella Movement. These creative activities and expressions found in protests and social movements echo with the artistic practices in terms of their use of local slang, participatory nature and symbols from popular culture and everyday life. Through the playful use of these elements, the ideological authority of the Hong Kong Government and that of the Central Government of China is questioned. The aim of this thesis is to discuss and investigate the interrelationship between these two types of creative practice, explore how these creative practices, by engaging themes such as everyday life, language and local culture, not only embody the social political meaning and also contribute to the plurality and mutability of Hong Kong’s identity, at the same time shed lights on the discussion of the significance of art in Hong Kong as well as in the history of local art.