Natalie Hui is a Hong Kong-born artist who spent her early childhood in New Zealand and is currently based in Hong Kong, specializing in participatory art and painting. She holds a Bachelor of Arts in Fine Art from the Kingston School of Art (Kingston University London). In her creative practice, she operates under the alias Little Fat Ant. This name was born from a beautiful misunderstanding—a serendipitous mistake on an autograph by a beloved music idol from her teenage years. She embraced this unexpected gift because it symbolizes a dream of courage and carries a gentle reminder: never forget who you are, no matter how small you may seem. This very courage has been her compass, accompanying her on her journey from spending her early years (ages 3 to 6) in New Zealand, moving to the UK at the age of 18 for her studies, returning to Hong Kong, exploring Japan, and traveling across the world.

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Like a tiny ant navigating a vast and complicated universe, she uses her art to express her sensitive and playful mind. Her creations often manifest as scattered fragments of memories, revealing an artist who seemingly never lives in the present, but rather wanders through the echoes of the past and the reveries of the future.

While her art begins as this deeply personal exploration of time and memory, interaction is the true key to her practice. She is devoted to participatory art because she believes that interactive, socially-engaged formats empower participants to think, explore, and inspire one another. Rather than simply dictating a message on her own, her life goal is to create joyful community engagement, sharing how art has lightened her own life.

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A recent example of this is a fun, therapeutic drop-in drawing workshop she facilitated at The Bentall Shopping Centre in Kingston, London. Participants engaged in intuitive, unconscious blind drawing while listening to music through headphones. This project explored the concept of finding privacy amidst the hustle and bustle, offering a space for relaxation and enhanced imagination. The music and the act of blind drawing separated participants from the busy shopping centre, allowing them to retreat into their own imaginative worlds. They were often surprised upon opening their eyes to see their unconscious creations. As they returned to the 'existing world,' she guided them in discussing their artwork—a process of bringing the unconscious into consciousness. Ultimately, this project explored the profound possibilities of public therapeutic art.