Kwok Mang Ho, also known as Frog King, was born in 1947 in Guangdong and raised in Hong Kong. He is one of Hong Kong's most iconic and dynamic artists—a pioneer in conceptual and performance art—who has been pushing the boundaries of art in Hong Kong and beyond since the late 1960s.

In his early years, Frog King studied ink painting and calligraphy under the modern ink painting master Lui Shou-Kwan. He is one of the earliest contemporary Chinese artists to explore ink as a conceptual medium, integrating it into multimedia installations and performance art, either through action or as a material. His works uniquely blend Eastern and Western philosophies, religions, and concepts. From his pieces, one can see the fusion of traditional training with multifaceted elements, bringing fresh perspectives to his contemporary creations.

Since 1967, Frog King has exhibited and performed in over 3,000 art events worldwide. Across the globe, he has been involved in more than 5,000 conceptual, performance, sculpture, painting, and installation art events, leaving his "frog traces" across the international art scene. Notable among them was his participation in the Hong Kong Pavilion at the 54th Venice Biennale. In December 2015, Hong Kong’s M+ Museum of Visual Culture invited Frog King to recreate his 1979 “Plastic Bag Project” on the Great Wall of China—considered one of the first performance artworks to appear in China. He has received numerous international accolades, and each of his works embodies a utopia constructed from his conceptual vision. He was recently featured in the University Museum and Art Gallery at The University of Hong Kong in the exhibition “Imperial Inscription・Contemporary Enlightenment.”

From 1980 to 1984, he pursued further studies at the Art Students League of New York and lived in New York for 15 years before returning to settle in Hong Kong in 1995. His artistic manifesto is “Yum Dimensional—Frog Fun Realm,” with the frog as his central motif. He constantly explores diverse and interdisciplinary media to experience the concept of “Art is Frog.” His journey begins with the two-dimensional plane, then progresses through painting, relief, sculpture, environment, space, time, happenings, improvisation, and performance as a whole—eventually returning to the realm of spontaneity and mindfulness, or "Yum Dimensional," meaning that any form, quantity, medium, concept, or dimension can be a means of creation. He proposes the ideas that “Time is Art” and “Play is Art.”