Is pursuing music inevitably a dead-end career? Can one forge an artistic entrepreneurial path without an art background? It turns out that managing artists is an art in itself.
On 14 November, CUHK’s Knowledge Transfer Office InnoPort and Shaw College hosted a talk titled “Everyone Can Be an Artist, Anyone Can Be an Entrepreneur”. The event featured Irene Au, Shaw College council member and founder of the music platform KALOS, and Gigi Morales, founder of the social enterprise wePaint, as guest speakers.
This marks the inaugural talk in CubicZine’s “Human Library” series. The two guests shared how they transitioned from artistic and corporate backgrounds into social entrepreneurship, detailing their hands-on experiences in international music collaborations and social enterprise operations. This prompted attendees to reimagine the possibilities of “art × entrepreneurship”.
The lecture inspired students to recognise that artistic passion and entrepreneurial spirit can complement one another, broadening their horizons regarding artistic career paths.
Q1: Irene, you studied piano and singing from a young age and have always held a deep interest in music. After graduating from university, why did you choose to pursue arts administration rather than a career as a musician?
Irene：I graduated from the Department of Chinese Language & Literature at the CUHK. While I adore music, I was even more captivated by language and literature, and frequently participated in event planning. After graduation, I was fortunate to join an arts and culture organisation. This allowed me to combine my three passions, find my niche, and ultimately shape my current role as an arts manager rather than a musician.
Q2: You have successfully facilitated collaborations in Hong Kong with several internationally renowned musical ensembles, including the Vienna Boys’ Choir. How did this partnership come about?
Irene：This was indeed one of the most challenging undertakings of my career over the past two decades.
In 1999, I founded my company. One day, I received an email (at a time when scams were less prevalent), and I believed it presented an opportunity—the Vienna Boys’ Choir planned to perform in Hong Kong and required an organiser. My proposal was selected, outlining several exchange initiatives: inviting all interested Hong Kong schools, choirs, teachers and students to collaborate. They felt this broke the mould of conventional tours, enabling deeper cultural exchange. When the choir arrived in 2001, it marked my first major initiative. This later expanded into co-founding a music academy and charitable organisation, benefiting more students.
Irene reflects that assisting the Vienna Boys’ Choir, with its five-hundred-year heritage, in staging performances in Hong Kong and facilitating numerous collaborations has taught her profoundly: innovation often springs from taking that extra step within one’s own sphere of influence.
Q3: In your observation, what is the greatest challenge for those pursuing a full-time career in the music industry in Hong Kong?
Irene：A lack of understanding about the music and creative industries. Academic commitments in Hong Kong are demanding, with music programmes focusing heavily on technical skills and artistic development. However, when you bring those skills into the wider world – whether seeking employment or launching a business – you must possess a fundamental grasp of the industry. Only then can you transform ideas into viable, impactful projects.
As a musician, how does one transform talent into multiple revenue streams? When musicians submit their CVs, I can invariably suggest three to five activities or models that could generate income – approaches they’ve never considered.
I believe the first step is proactively seeking opportunities; secondly, gaining deep and broad industry knowledge; thirdly, considering how your talent can address societal needs – the very essence of entrepreneurship, solving the world’s pain points.
Raising the banner of cultural creativity in a “cultural desert”
Q4: Both KALOS and you personally have stated the goal is “enabling musicians to earn a living”. How do you realise this ambition?
Irene：Firstly, we operate openly as a cultural and creative enterprise in Hong Kong, with KALOS explicitly positioned as a cultural and creative platform. While many view Hong Kong as a cultural desert where artistic pursuits struggle to sustain livelihoods, how can we demand societal respect for this industry if we fail to clearly demonstrate our commitment to this very endeavour?
We emphasise believing in one’s own talent, for art is vital to the world. Secondly, we share ideas and continuously add value through collaboration, enabling creations to bring tangible benefits to others while generating livelihoods for ourselves.
The platform welcomes music students and young musicians to join us in shaping future plans. Hong Kong’s artistic ecosystem requires support from the entire community. We strive to foster collaboration, seek performance opportunities for young musicians, connect them with overseas resources, and help them achieve independence and reach wider audiences sooner.
Q5: Gigi, why did you transition from banking into social enterprise?
Gigi：After over a decade in banking, I paused my career for family reasons. During that period, I became a “tiger mum”, sitting alongside my daughter and supporting her studies. Then I realised: is this how my life is to be lived? As I enjoyed interacting with young people and children, I studied child psychology and became involved in voluntary work.
I lacked a clear direction until encountering the Fullness Social Enterprises Society, where I learned about social enterprises—business that also carries social missions. Later, I launched the wePaint initiative with partners who shared my vision, helping individuals with special educational needs (SEN) find employment through art. In 2023, we established “Social Innovation Magician”.
My social enterprise journey has been less about meticulous planning and more about seizing opportunities as they arise.
Q6: wePaint trains young people with autism to create wall murals. How did you initially connect individuals with autism to mural painting?
Gigi：In our early days, we aimed simply to train individuals with autism to undertake painting work, as they enjoy or are less resistant to repetitive tasks. However, we encountered numerous challenges.
When promoting the social enterprise, we discovered that the public showed greater interest in painting artworks, so we shifted our focus to mural creation. Initially, we offered mostly pro bono services, proactively reaching out to relevant NGOs to invite their students for training or collaborative projects. Later, we realised murals not only convey messages but also facilitate communication between trainees, parents, and various organisations. As recognition steadily grows and collaborations increase, the works of our students are being seen by more people, which in turn fuels my motivation.
In 2021, the CUHK’s InnoPort was inaugurated. wePaint was invited to create a mural on the staircase, depicting Bean the Cat’s entrepreneurial journey.
Running a Social Enterprise Like a Business: prioritising customer needs and mastering the art of communication and management
Q7: How has your business experience helped you run a social enterprise?
Gigi：First, let me state that I have no artistic talent. Why then was I confident in launching an arts social enterprise? I believe the key lies in my business experience and network. We place great emphasis on customer needs, and social enterprises are no different – understanding the genuine requirements of beneficiaries and audiences is essential.
I identified artistic talents like painting among friends with autism and sought to create opportunities for them to be seen. Additionally, we understand how to identify corporate needs and generate revenue. Many of our current clients are from the business sector, collaborating with us on events and exhibitions.
Q8: You both frequently engage with diverse artists. During collaborations, have you ever faced scepticism about being ‘outsiders managing insiders’? How do you navigate such communication?
Irene：Expertise is relative. As a curator, musicians might perceive me as an outsider. Yet when musicians step into event organisation, they become the outsiders. Shifting perspectives is crucial.
If we refine our respective roles while embracing others’ expertise, communication flourishes. For instance, Gigi’s extensive business experience is invaluable to our industry. I can learn from her, while she can gain insights from me on communicating with artists. Cross-disciplinary collaboration makes everyone an insider.
Gigi：I could not agree more. We cannot operate in isolation. Artists may excel at playing instruments or painting, but how do we make the public aware? We rely on teams to drive this. A team is like a jigsaw puzzle – with its concave and convex pieces, it only becomes complete when assembled. Collaboration allows more people to see our work and value.
Q9: You must have encountered many talented artists. Any interesting collaborative sparks?
Gigi：I’ve worked with numerous individuals with autism. People might assume they don’t speak or hide away. But my students are actually quite talkative and caring—one even wiped paint off a classmate’s shoes, which deeply moved me. They have remarkable memories, knowing every MTR and bus route perfectly. Everyone has unique qualities; we must take the time to understand them rather than label them. I cherish these friends—they’re incredibly sincere.
Irene：You do encounter people whose perspectives are entirely different from your own. Does that ever daunt you? If everyone thought alike, there’d be no spark. Those moments that initially surprise you are often when creativity is born.
If everything must be divided into right and wrong, the pressure of decision-making naturally intensifies. I prefer maintaining an open mind where everyone can express their views honestly.
Gigi encouraged the students, “Even the smallest idea can grow into a solution that helps others. Be creative—what seems minor can still make a big difference.”
Advice for students aspiring to a career in the arts
Gigi：There was a perception that artists needed to study at speciality institutions. However, I do believe anyone can become an artist. The new generation possesses diverse talents; I encourage everyone to explore widely, discover your passions and interests, and then uncover the possibilities within them.
Today’s arts sector is remarkably expansive, with roles extending far beyond performance or painting to encompass management and coordination. While artists create, we assist them in translating their visions into action, using creativity to connect with society and realise art’s deeper social significance – nourishing the spirit and bringing joy. The boundless possibilities here are something we can all imagine together.
Irene：It’s easier than ever to pursue creative and cultural careers. Previously, the sector was relatively exclusive. Now, through passion and skill, one can expand opportunities and networks. Anyone can start from a single creative spark and advance towards their goals.
Many remain stuck at the ‘wanting to do’ stage without taking the next step. I urge everyone to act—transform ideas into plans, set timelines, and define clear objectives and steps. Indeed, drive and execution are utterly crucial.
Q11: Entrepreneurship is challenging. How do you both navigate adversity? What advice would you offer to university students aspiring to start their own ventures?
Gigi：Social enterprises inevitably face numerous hardships, requiring self-sufficiency and perseverance to survive. My approach is to minimise costs: no rented office space, no permanent team, and assembling a new crew for each project.
For students considering entrepreneurship, I’d advise starting small without rushing into office leases or excessive commitments. Leverage platforms like CUHK’s InnoPort, which offer entrepreneurial guidance and resources—including seed funding—to test business models. Identify challenging areas, refine your approach, and scale cautiously for more stable growth.
Today’s entrepreneurial landscape is more favourable, with businesses increasingly prioritising ESG. This creates opportunities for social enterprises, as more companies consider our services.
Irene： Regarding how to tackle difficulties, I have two answers: one serious, one playful.
The serious answer is reading – studying case studies from other fields or industries to draw cross-disciplinary insights. I frequently visit tech innovation or business exhibitions, which are worlds I don’t know. Seeing how they operate makes me wonder: if we applied these methods to the arts sector, might it become more efficient?
The playful answer is to occasionally step away for other activities, like washing dishes or taking a bath. When you relax and shift your perspective, your mood lifts and inspiration flows.
In this rapidly changing world, it seems we must keep pace—even artists must catch up, learning business and technology. Yet I sincerely hope artists remain those who inspire and lead society through creativity. Cultural and creative students can collaborate with tech innovators and social entrepreneurs, using their ingenuity and passion to transform art into a force that benefits society.
CubicZine “Human Library” Talk Series
Building upon CubicZine’s interview stories, the “Human Library” transforms CUHK students’ social innovation practices into face-to-face exchanges. Themes span creative thinking, environmental protection, community integration, physical and mental wellbeing, and lifestyle and culture, embodying the practical value of cross-disciplinary collaboration and social impact.
InnoPort connects students with CUHK entrepreneurs through visits to CUHK colleges and secondary schools, introducing knowledge transfer initiatives. This encourages students to contribute their knowledge to society and drive social progress.
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