Lee Pui Ming is an artist who is curious about the space where the Known meets the Unknown. Through the years, that exploration has led her to new ways of transforming and integrating Chinese material into her work; creating a live performance gestalt that includes sounding all parts of the piano, engaging her body and her voice; finding fresh ways of weaving tonalities; and diving into the wide expanse of open improvisation.

And always, the intent is to communicate and connect with the listener, heart to heart.

From her first recording, Ming (1991), till now, Pui Ming has created a rich body of work. There are the compositions and recordings of contemporary Chinese music performed by The Lee Pui Ming Ensemble, a quartet of Chinese instruments plus piano and percussion; and the orchestral piece Blessings for The Hong Kong Chinese Orchestra. There are the solo piano recordings of Strange Beauty (1994), who’s playing (2002) and she comes to shore (2011) which also contains a concerto for improvised piano and orchestra. Then there are the works for dance – Hundun (2002), a groundbreaking 60-minute piece created with Peter Chin (dancer/choreographer/musician) for eight musicians and dancers where music and movement are completely integrated; Sheepman Dreams, a full-length dance score for Kokoro Dance, Vancouver, inspired by the writings of Haruki Murakami utilizing sounds recorded on Gabriola Island in British Columbia; Xiao Bai Chuan (“Little White Boat”), a duet with Yvonne Ng (dancer/choreographer) where the piano is at various points a resonant box for hawkers’ cries, a dream chamber, and a boat.

In Pui Ming’s performing career, she has played in jazz, new music, and folk festivals in places like Montreal, Ottawa, Vancouver, Toronto, Halifax, Edmonton, White Horse, San Francisco, St. Paul (Minnesota), Honolulu, Berlin, Bern, Worpswede, and Hong Kong. She has been presented by presenters like Honens International Piano Festival in Calgary, Art Gallery of Ontario and The Royal Ontario Museum in Toronto, Vancouver New Music, and Hong Kong Urban Council. Recently she made concerto appearances performing she comes to shore with The Hopkins Symphony, Windsor Symphony, and The Bay-Atlantic Symphony.

Her work has also received acclaim through the years. Nine-Fold Heart (1994), her recording of original compositions performed by The Lee Pui Ming Ensemble, received a Juno nomination in the Best Global Music category. Alex Varty of Georgia Straight named Taklamakan (1999) one of the year’s top ten recordings. In 2000, Pui Ming was awarded The Freddie Stone Award recognizing her contribution to improvised music in Canada. In 2005, she was given the K. M. Hunter Artist Award recognizing her achievement in music in Ontario.

And now, Lee Pui Ming’s journey continues, as she listens and sounds resonances to meet each listener with ever greater fullness and expansiveness.

In the tradition of Chinese names, “Lee”, the family name comes before the given name, “Pui Ming.”