BERNADETTE , known as

Bernadette Kam Fu LEE

as well as Kam Fu Bernadette LEE-PISAPIA , A FINE ARTIST and a Self-published author



Art , not for sale except for prints and artist books solely handled by Laboratorio Fratelli Manfredi.( previously known as Mavida)

Bernadette does not sell her pieces since her retrospective in Florence ( 1983-1993, Grande Quadri. Quadri Invendibili)

whoever sells you works by Bernadette after that date could be of stolen pieces.

Kindly inform Bernadette via email: leekamfubernadette@pec.it


Bernadette’s diary- 


on Apple Books

for free reading

under author: 

Last name: LEE-PISAPIA

first name: Kam Fu Bernadette



LEE-PISAPIA Kam Fu Bernadette or LEE Kam Fu Bernadette

( order of name used in Hong Kong and Italy

alias

Kam Fu Bernadette LEE-PISAPIA ( alias Kam Fu Bernadette LEE PISAPIA)

(order of name used in Britain, Canada )

alias

Bernadette Kam Fu LEE ( maiden name)(artist name)


LEE-PISAPIA, Kam Fu Bernadette

(order and form ( with a comma in between ) generally used in Hong Kong to distinguish

last name from first name)


Kam Fu Bernadette LEE-PISAPIA

(order generally used in Britain and Canada )



penname: Bernadette K. Pisapia, Kam Fu Pisapia, Lee-Pisapia Kam Fu Bernadette






Bernadette is the writer as well as the publisher

the name chosen for the publisher ( not a registered company ) has two

formats:

LEE-PISAPIA, Kam Fu Bernadette ( Hong Kong format), or LEE-PISAPIA Kam Fu Bernadette ( Italian format) . Therefore, the comma in between does not mean two distinct individuals as it is used to distinguish the last name and the first name in the Hong Kong format. For the other format, capital letter has been used to indicate the LAST NAME from the first name.

( from 06/09/2023, the Italain format is officially transformed to LEE Kam Fu Bernadette coniugata PISAPIA . However, the fully extended writing of my hyphenated Last Name is still maintained as my Canadian and Hong Kong identity : Kam Fu Bernadette LEE-PISAPIA)


NOTE:

email : ahfu@bernadetteleepisapia.it has previously been compromised and therefore please use the email:

kamfubernadette@icloud.com or leekamfubernadette@gmail.com to contact me.


Thank you.

Bernadette

05/05/2023

Hong Kong







student name used in Italy:

LI (last name)

Kam Fu Bernadette ( first name)

photos 40 years later:

with Padre Gianni in Dec 1983, Hong Kong

with Don Italo. Mazzano Romano, Oct 2023


videos Per Padre Gianni can be viewed on my other website:www.bernadetteleepisapia.it especially realised by Bernadette for the family of Padre Gianni in Mazzano Romano and Capranica, Italy, thanking them for their hospitality

Various catalogues

1980-1981 as a visiting student in Scotland most works were done between 1979 -1982, Between Canada and Scotland
1980-1981 as a visiting student in Scotland most works were done between 1979 -1982, Between Canada and Scotland
from earliest work in 1979 to later work in 1982
from earliest work in 1979 to later work in 1982
from first abstract work in Canada to first figurative exercise in Scotland
from first abstract work in Canada to first figurative exercise in Scotland
figurative paintings and drawings at Edinburgh College of Art 1980-1981
figurative paintings and drawings at Edinburgh College of Art 1980-1981
drawings done at Edinburgh College of Art, as a visiting student 1980-1981
drawings done at Edinburgh College of Art, as a visiting student 1980-1981
postgraduate year at Edinburgh College of Art 1982-1983, research on color, potery and chinese calligraphy
postgraduate year at Edinburgh College of Art 1982-1983, research on color, potery and chinese calligraphy
poetic realm through expressions of color and subtleties of brush works
poetic realm through expressions of color and subtleties of brush works
poetry writing comes in as an inspirational source
poetry writing comes in as an inspirational source
Silk Road, exhibition at the Gallery of Queen's Hall Arts Centre , Hexham, Northumberland 12 May to 3 June 1995
Silk Road, exhibition at the Gallery of Queen's Hall Arts Centre , Hexham, Northumberland 12 May to 3 June 1995
exhibition in Florence, Italy 1993 Grandi Quadri- Quadri Invendibili, Compagnia del Paiolo, Stazione Statuto ( 'Big works, non sellable works') was a retrospective show 1983-1993
exhibition in Florence, Italy 1993 Grandi Quadri- Quadri Invendibili, Compagnia del Paiolo, Stazione Statuto ( 'Big works, non sellable works') was a retrospective show 1983-1993
most works shown were accompanied by the poems that inspired the work, a practice borrowed from Chinese painting tradition , though, the poems are not necessarily written on the canvas. Some hidden ideograms, however, are used to form part of the composition on a few paintings
most works shown were accompanied by the poems that inspired the work, a practice borrowed from Chinese painting tradition , though, the poems are not necessarily written on the canvas. Some hidden ideograms, however, are used to form part of the composition on a few paintings
when ideograms as forms were no longer an inner necessity, fluent brushworks became predominant as principal elements on pure white canvas, with intentional white space as compositional factor
when ideograms as forms were no longer an inner necessity, fluent brushworks became predominant as principal elements on pure white canvas, with intentional white space as compositional factor
from geometric closed forms to free brush works that form a non limited visual limit- the eyes were led off the edges to continue the inner glance outside the canvas
from geometric closed forms to free brush works that form a non limited visual limit- the eyes were led off the edges to continue the inner glance outside the canvas
spontaneous brush works were being first experiemented on color space composition, then move towards relationship between color and white space on canvas ( from heavy to light as weight ). When the technique of staining came in due to the unprimed light canvas, further experimentation was done on li...
spontaneous brush works were being first experiemented on color space composition, then move towards relationship between color and white space on canvas ( from heavy to light as weight ). When the technique of staining came in due to the unprimed light canvas, further experimentation was done on li...
most paintings were done on big scale, from the beginning of the research on color, calligraphy and poetry in order to suggest a physical atmosphere, after being much inspired by Monet's works, either in London or Paris
most paintings were done on big scale, from the beginning of the research on color, calligraphy and poetry in order to suggest a physical atmosphere, after being much inspired by Monet's works, either in London or Paris
Due to problem of transportation, the earlier works done during my postgraduate year in Scotland were composed of four panels. Later the more or less same measurement was kept ( 2metrex2) using only one panel, or diptych- after moving to a larger studio space in Florence, Italy
Due to problem of transportation, the earlier works done during my postgraduate year in Scotland were composed of four panels. Later the more or less same measurement was kept ( 2metrex2) using only one panel, or diptych- after moving to a larger studio space in Florence, Italy
multi-panels began after the trip to China- the continuous imagery seen on the boat ride upon River Li suggested unlimited use of view points in the flow- thus an experiemt of 21 panels put together to illustrate the changing seasons of the landscape was realised
multi-panels began after the trip to China- the continuous imagery seen on the boat ride upon River Li suggested unlimited use of view points in the flow- thus an experiemt of 21 panels put together to illustrate the changing seasons of the landscape was realised
most works on Chinese mountains were done during the first period in Florence, when I became a student again at the Accdemia di Belle Arti di Firenze, as well as an instructor in painting at Fortman Studios, where I was student teaching American students based in Italy
most works on Chinese mountains were done during the first period in Florence, when I became a student again at the Accdemia di Belle Arti di Firenze, as well as an instructor in painting at Fortman Studios, where I was student teaching American students based in Italy
most of the paintings were shown subsequently in Florence, at Lexis, an international language centre, where a show FUNG ON- IL LOTO E LA SETA ( lotus and silk- meeting of peace ) in 1993 became the permanent exhibition, decorating the ambience with an imposing presence , covering most of the white ...
most of the paintings were shown subsequently in Florence, at Lexis, an international language centre, where a show FUNG ON- IL LOTO E LA SETA ( lotus and silk- meeting of peace ) in 1993 became the permanent exhibition, decorating the ambience with an imposing presence , covering most of the white ...
some other paintings, less big in scale , due to the limit of the material ( Egyptian cotton purchased during my trip to Luxor ) were done after that trip. Together with fifteen young students , I led a painting workshop for a week in Luxor, Egypt where an exhibition ' Painters from Italy ' was held...
some other paintings, less big in scale , due to the limit of the material ( Egyptian cotton purchased during my trip to Luxor ) were done after that trip. Together with fifteen young students , I led a painting workshop for a week in Luxor, Egypt where an exhibition ' Painters from Italy ' was held...
the one person exhbition in 1993 Florence, was held at the Gallery designed by Architect Toraldo di Francia
the one person exhbition in 1993 Florence, was held at the Gallery designed by Architect Toraldo di Francia
portrait of me (1989) by a photographer made in front of my old works, done in Edinburgh in 1982 potery writing in Chinese calligraphy mostly done in 1984, after the first trip to China. Translated by Maria Vittoria Pratesi in Italian
portrait of me (1989) by a photographer made in front of my old works, done in Edinburgh in 1982 potery writing in Chinese calligraphy mostly done in 1984, after the first trip to China. Translated by Maria Vittoria Pratesi in Italian
an experiemnt on using traditional fresco technique to do Chinese calligraphy in color technique of putting on the intonaco was shown, suggested and realised by Donatella, a restaurer from Froli'
an experiemnt on using traditional fresco technique to do Chinese calligraphy in color technique of putting on the intonaco was shown, suggested and realised by Donatella, a restaurer from Froli'
presentation of works in 2002, done during a short stay in Canada, at the University of Alberta- putting together original Chinese poems written in calligraphy to accompany works inspired
presentation of works in 2002, done during a short stay in Canada, at the University of Alberta- putting together original Chinese poems written in calligraphy to accompany works inspired
most works dated between 1996-1999 when I began to write the poems in half recongnisable manner in color, overlapping a translated layer of the same poem in Italian
most works dated between 1996-1999 when I began to write the poems in half recongnisable manner in color, overlapping a translated layer of the same poem in Italian
most works were done on the same old measurement , not less than 2x2 metres
most works were done on the same old measurement , not less than 2x2 metres
Fung On , meeting with peace in Chinese, was the name given to my Italian husband , by my Spiritual Father Yan Po Tak, in 1993 Together with this name, Yan Po Tak wrote in Italian a poem, thus this painting was made to celebrate that episode- using Chinese silk as a base, which therefore led to the...
Fung On , meeting with peace in Chinese, was the name given to my Italian husband , by my Spiritual Father Yan Po Tak, in 1993 Together with this name, Yan Po Tak wrote in Italian a poem, thus this painting was made to celebrate that episode- using Chinese silk as a base, which therefore led to the...
Since paintings as narrative elements have always interested me ( thus the many attempts of making story board paintings ), interesting narratives have been my choice of subject matter, which includes, for instance, The Nightingale and the Rose of Oscar Wilde
Since paintings as narrative elements have always interested me ( thus the many attempts of making story board paintings ), interesting narratives have been my choice of subject matter, which includes, for instance, The Nightingale and the Rose of Oscar Wilde
some poems were rewritten after the Painting was finished, reminiscent of certain Chinese pictorial tradition where a poem was composed to accompany the painted image
some poems were rewritten after the Painting was finished, reminiscent of certain Chinese pictorial tradition where a poem was composed to accompany the painted image
Drunk on White, the poem written by me in 1984 became a constant source of inspiration for the many paintings which concentrated on the use of white space were to realise
Drunk on White, the poem written by me in 1984 became a constant source of inspiration for the many paintings which concentrated on the use of white space were to realise
paintings done after the Egyptian trip in 1990 was another departure point for new experiment- light weight canvas that suggests the method of staining, and further attempt to use other material as support, such as the use of silk in 1993
paintings done after the Egyptian trip in 1990 was another departure point for new experiment- light weight canvas that suggests the method of staining, and further attempt to use other material as support, such as the use of silk in 1993
the trip to Egypt inspired me of the idea of a book, like an open book image in painting format ( some small dyptych were done during the trip, concieved as portable books since they were of a portable scale) Later bigger scale was used after my return to Italy as bigger brush works on layered canva...
the trip to Egypt inspired me of the idea of a book, like an open book image in painting format ( some small dyptych were done during the trip, concieved as portable books since they were of a portable scale) Later bigger scale was used after my return to Italy as bigger brush works on layered canva...
Quiet Night by Li Po as a constant source of inspiration- this one is the layered version, with Italian text translated and painted painterly underneath
Quiet Night by Li Po as a constant source of inspiration- this one is the layered version, with Italian text translated and painted painterly underneath
this is the second panel of the poem Quiet night by Li Po ( altogether 4 panels ), done in three layers, with the first layer in Chinese ideograms: DREAMING OF THE PLATEAU, then layered with a light canvas with the Italian translation of the second line of the poem: FOR A MOMENT, MISTOOK IT FOR FROZ...
this is the second panel of the poem Quiet night by Li Po ( altogether 4 panels ), done in three layers, with the first layer in Chinese ideograms: DREAMING OF THE PLATEAU, then layered with a light canvas with the Italian translation of the second line of the poem: FOR A MOMENT, MISTOOK IT FOR FROZ...

From Florence to Northumberland

to Florence

some exhibitions

some old catalogues

some notebooks

with old photos

of works 

done in Canada

Scotland

and Italy

as student

or not as student

whatever the status

a cycle is completed

in certain sense

1980-1981 as a visiting student in Scotland
most works were done between 1979 -1982, Between Canada and Scotland

from earliest work in 1979 to later work in 1982

from first abstract work in Canada to first figurative exercise in Scotland

figurative paintings and drawings at Edinburgh College of Art 1980-1981

drawings done at Edinburgh College of Art, as a visiting student 1980-1981

postgraduate year at Edinburgh College of Art 1982-1983, research on
color, potery and chinese calligraphy

poetic realm through expressions of color and subtleties of brush works

poetry writing comes in as an inspirational source

Silk Road, exhibition at the Gallery of Queen's Hall Arts Centre , Hexham, Northumberland 12 May to 3 June 1995

exhibition in Florence, Italy
1993 Grandi Quadri- Quadri Invendibili, Compagnia del Paiolo, Stazione Statuto
( 'Big works, non sellable works') was a retrospective show 1983-1993

most works shown were accompanied by the poems that inspired the work, a practice borrowed from Chinese painting tradition , though, the poems are not necessarily written on the canvas. Some hidden ideograms, however, are used to form part of the composition on a few paintings

when ideograms as forms were no longer an inner necessity, fluent brushworks became predominant as principal elements on pure white canvas, with intentional white space as compositional factor

from geometric closed forms to free brush works that form a non limited visual limit- the eyes were led off the edges to continue the inner glance outside the canvas

spontaneous brush works were being first experiemented on color space composition, then move towards relationship between color and white space on canvas ( from heavy to light as weight ). When the technique of staining came in due to the unprimed light canvas, further experimentation was done on li...

most paintings were done on big scale, from the beginning of the research on color, calligraphy and poetry in order to suggest a physical atmosphere, after being much inspired by Monet's works, either in London or Paris

Due to problem of transportation, the earlier works done during my postgraduate year in Scotland were composed of four panels. Later the more or less same measurement was kept ( 2metrex2) using only one panel, or diptych- after moving to a larger studio space in Florence, Italy

multi-panels began after the trip to China- the continuous imagery seen on the boat ride upon River Li suggested unlimited use of view points in the flow- thus an experiemt of 21 panels put together to illustrate the changing seasons of the landscape was realised

most works on Chinese mountains were done during the first period in Florence, when I became a student again at the Accdemia di Belle Arti di Firenze, as well as an instructor in painting at Fortman Studios, where I was student teaching American students based in Italy

most of the paintings were shown subsequently in Florence, at Lexis, an international language centre, where a show FUNG ON- IL LOTO E LA SETA ( lotus and silk- meeting of peace ) in 1993 became the permanent exhibition, decorating the ambience with an imposing presence , covering most of the white ...

some other paintings, less big in scale , due to the limit of the material ( Egyptian cotton purchased during my trip to Luxor ) were done after that trip. Together with fifteen young students , I led a painting workshop for a week in Luxor, Egypt where an exhibition ' Painters from Italy ' was held...

the one person exhbition in 1993 Florence, was held at the Gallery designed by Architect Toraldo di Francia

portrait of me (1989) by a photographer made in front of my old works, done in Edinburgh in 1982
potery writing in Chinese calligraphy mostly done in 1984, after the first trip to China. Translated by Maria Vittoria Pratesi in Italian

an experiemnt on using traditional fresco technique to do Chinese calligraphy in color
technique of putting on the intonaco was shown, suggested and realised by Donatella, a restaurer from Froli'

presentation of works in 2002, done during a short stay in Canada, at the University of Alberta- putting together original Chinese poems written in calligraphy to accompany works inspired

most works dated between 1996-1999 when I began to write the poems in half recongnisable manner in color, overlapping a translated layer of the same poem in Italian

most works were done on the same old measurement , not less than 2x2 metres

Fung On , meeting with peace in Chinese, was the name given to my Italian husband , by my Spiritual Father Yan Po Tak, in 1993
Together with this name, Yan Po Tak wrote in Italian a poem, thus this painting was made to celebrate that episode- using Chinese silk as a base, which therefore led to the...

Since paintings as narrative elements have always interested me ( thus the many attempts of making story board paintings ), interesting narratives have been my choice of subject matter, which includes, for instance, The Nightingale and the Rose of Oscar Wilde

some poems were rewritten after the Painting was finished, reminiscent of certain Chinese pictorial tradition where a poem was composed to accompany the painted image

Drunk on White, the poem written by me in 1984 became a constant source of inspiration for the many paintings which concentrated on the use of white space were to realise

paintings done after the Egyptian trip in 1990 was another departure point for new experiment- light weight canvas that suggests the method of staining, and further attempt to use other material as support, such as the use of silk in 1993

the trip to Egypt inspired me of the idea of a book, like an open book image in painting format ( some small dyptych were done during the trip, concieved as portable books since they were of a portable scale) Later bigger scale was used after my return to Italy as bigger brush works on layered canva...

Quiet Night by Li Po as a constant source of inspiration- this one is the layered version, with Italian text translated and painted painterly underneath

this is the second panel of the poem Quiet night by Li Po ( altogether 4 panels ), done in three layers, with the first layer in Chinese ideograms: DREAMING OF THE PLATEAU, then layered with a light canvas with the Italian translation of the second line of the poem: FOR A MOMENT, MISTOOK IT FOR FROZ...

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kamfubernadette@icloud.com

leekamfubernadette@gmail.com