George Tsui was born in Hong Kong and moved to New York in the late 60s, studying first at the School of Visual Arts and later majoring in oil painting at the Art Students League. While working at NBC he was awarded the prestigious 1997 Emmy Award for Best Individual Art and Craft. Included in his works of that period are some movie posters, several paintings chosen for the 1984 Winter Olympics poster series, as well as limited edition art prints for the 1985 and 1986 'Night of 100 Stars" event for a tribute to The Centennial of The Actor's Fund of America.

American artist George Tsui, temporally relocated to Beijing in 1996, after 20 years in the New York art scene. Those travels produced a series of works entitled Fair Ladies of the Past, featuring Chinese women in the glory and splendor of ancient of China. According to George Tsui, those paintings "employ a dual technique of painting and sculpture that is traditionally ornate yet abstract in the most modern sense."

George Tsui's fascination with the beauty and culture of historical China helped inspire him to explore and penetrate the surface of the country's outer landscape and expose the rich inner culture of China. In his time spent in New York, George Tsui received a degree in oil painting from the Art Student's League, and while working at NBC he received the 1977 Emmy Award for Best Individual Craft. Included in his works from that period are paintings chosen for the 1984 Winter Olympics Poster Series.

After twenty years in the New York art scene, Tsui embarked on a creative journey into China in the pursuit of reaching the next level in his artistic career. The grand and splendid architecture of the forbidden city and the mysterious and sensual character of the Dun Huang cave were his most immediate inspiration Always fascinated and attracted to the rare and exotic, elements of fantasy are often present in Tsui's work. Chinese themes filled his imagination, and the idea of creating his own brand of classic romanticism, unrestrained by conventional reality, was deeply attractive to him. His models always dressed in exquisite silk gowns from the artist's personal collection of 20 authentic imperial dresses. They pose in romantic, luxurious surroundings with a variety of antiques, artifacts, jewelry, flowers and birds.

Tsui doesn't pretend to be painting the real thing but draws us into a fantasy where the signs of subterfuge are plain to see. As the artist describes, "These pieces employ a dual technique of painting and sculpture that is traditionally ornate, yet abstract in the most modern sense of the word."

George basically uses particles of antique furniture and other antiques items and incorporates them into the surrounding of the paintings creating a 3 Dimensional look as a relief. This technique was applied mostly to his large compositions. This process is very difficult and these pieces are extremely limited.

Tsui doesn't pretend to be painting the real thing but draws us into a fantasy where the signs of subterfuge are plain to see. As the artist describes, "These pieces employ a dual technique of painting and sculpture that is traditionally ornate, yet abstract in the most modern sense of the word."