Founded in 2014, CarbonCare InnoLab (CCIL) is an independent community NGO dedicated to promoting climate action and catalysing the transition to low-carbon lifestyles. CCIL envisions a sustainable future where climate action is accessible and inclusive, with a strong mission to nurture and expand a community active in climate justice through innovation, education, and action.

CCIL actively engages NGOs, businesses, policymakers, and youth in achieving a just transition to a low-carbon economy that respects and protects vulnerable communities.

Through youth empowerment, community engagement, multi-stakeholder collaboration, and deepening knowledge of the intricate issues of climate mitigation, adaptation, and resilience, CCIL aims to empower our society to effectively respond to the global climate crisis.

Emmy Sandt is a Hong Kong–based woodworker, furniture restorer, and the founder of Emmy Sandt Studios. Drawing from a background in technical theatre, Sandt established her studio to focus on bespoke furniture design and meticulous historic restoration, transforming raw timber and worn heirlooms into enduring, functional art.

At Emmy Sandt Studios, she combines traditional joinery with sustainable sourcing, offering clients custom commission work and expert conservation that honours structural integrity and natural grain. Every piece reflects her deep reverence for timber, precision engineering, and the unique stories embedded in aged wood.

Beyond her primary studio practice, Sandt is the co-founder of A Collective Space, a multidisciplinary design and wellness initiative based in Mui Wo. There, she leads community woodworking workshops and vocational training.

Through both her custom commissions and community outreach, Sandt elevates the craft of woodworking, uniting heritage craft, historical preservation, and active creative leadership.

Ironshroom Pottery Studio was founded in 2023 by Aby Emmet Shaw (b.1995) and Iris Chen Qin (b.1998) while pursuing their Master’s degrees at the Academy of Visual Arts, Hong Kong Baptist University.

Shaw originally studied chemistry before shifting his path to apprentice under renowned ceramic artists Nic Collins and Sabine Nemet. He later worked in a hand-made flower pot factory and has since traveled to Japan and Jingdezhen for advanced ceramic research.

Chen was trained in Experimental Art at the China Academy of Art. Her practice navigates between fictional narrative and material remains.

To date, the duo has collaborated with restaurants to produce bespoke dinnerware, conducted extensive research on local clay sources on Lamma Island, and built a wood-fired kiln, which they fueled using fallen wood salvaged from typhoons.

Their work embodies themes of sustainability, ecology, and slow-growth. Through experimental approaches in ceramic art, they integrate spirituality with utility, treating each object as a relic of both the present and the future.

Louis To Wun is a versatile contemporary artist, whose works range from painting and sculpture to candy and bamboo intangible culture. 

His artistic career began in the 1990s at a rented house on Lamma Island, where he and a group of painter friends shared days of vigorous painting. His work has since been exhibited at major institutions like the Hong Kong Museum of Art, Hong Kong Arts Centre, PS1 MOMA, British Museum, and venues in Beijing, Shanghai, and Macao. In 2004, To co-founded the gallery and music club, SENSE 99, a popular hang-out for creatives. 

In 2010, wanting to share a childhood memory with his daughter, he looked, unsuccessfully, for someone to teach him the disappearing, 600-year-old art of candy sculpting. Through countless experiments, he managed to teach himself, and now creates candy sculptures under the name Sugarman.

To is also skilled in the art of zi zaat (bamboo sculpting). As a Cheung Chau resident, he is often invited to repair festival qilin (unicorns); from 2013 to 2019, he was commissioned to create the leading qilin of the Tai Ping Ching Chiu Festival. As both a painter and sculptor, he’s developed a unique visual style for his qilin..  In 2015, he invented a waterproofing method for the bamboo sculptures, a technical breakthrough that allowed the ritual dancers to start performing sea ceremonies, in addition to supporting larger sculpture production and long-term conservation. His bamboo artistry has appeared in numerous forums: as wearable dancers’ costumes; in Christopher Doyle’s Hong Kong Film Trilogy; at Leica Design Week Kyoto and Art Central Hong Kong; and as interactive artworks for the sight- and hearing-impaired.

Sne Roy is a Hong Kong based psychologist, mental health advocate, and the Managing Director of A Collective Space. Deeply rooted in academic study, they bring an analytical and data backed approach to program development, ensuring that all clinical initiatives and community offerings are grounded in rigorous empirical research.

In both their counselling practice and executive leadership, Sne bridges structured psychological evidence with hands on creative modalities. They translate complex behavioral science into accessible experiential programs, using craft based therapy and to create intentional spaces where individuals can safely process stress, build resilience, and explore personal growth.

Grounded in a philosophy that prioritizes curiosity over perfectionism, Sne empowers diverse communities to engage with mental health meaningfully. Through evidence informed counseling, strategic direction, and compassionate advocacy, they continue to pioneer holistic, community driven wellness across Hong Kong.

Moriaki Yasuhara is a professor in the School of Energy and Environment at City University of Hong Kong. He has broad interests in

integrating organismal biology (ecology and evolutionary biology), paleontology, paleoceanography, and paleoclimatology, especially by using highly resolved micropalaeontological records. His recent research has focused on the spatio-temporal dynamics of large-scale biodiversity patterns, the impact of climate on species diversity, and the controlling factor(s) of biodiversity pattern change in deep-sea,

shallow-marine, and pelagic ecosystems. He is also interested in microfossil-based conservation palaeobiology (i.e., fossil evidence of anthropogenic impacts, including pollution, eutrophication, deoxygenation, etc) and palaeontology of the Ostracoda in general.

https://moriakiyasuhara.com/