Jiwye To started his art pursuit in the late of 1970's. In 1975 he concentrated on making attempts to rejuvenate Chinese Tradition Landscape by using the technique of spray paint. After that, he found that in Hong Kong Landscape drawing can only be succeeded by re-patterning of ancient pieces by enlarging or reducing some of the pieces as we really have no magnificent local scenery for inspiring our works.

To him, as tradition and modern steps have never originated in Hong Kong, the local atmosphere is somehow disadvantageous for the learners who can hardly find anything to depend on. The same feeling of loss was presented by a project of To works on 1976, naming 'Cloud: In and Out.' The learners will find their ways clearer in clam and fine day. While facing a cloudy and windy sky, learners will easily be left at a loss.

After that project, To saw that starting from the Vernacular Literature Movement, the Chinese artist sometimes rush to the avant-grade art but something engage on a retreat going back to the tradition. Perhaps this show that the choice between tradition and modern influence is still an irritating problem for our artists and many of the artists rely upon finding a place temporary rest and practices. This is what To hopes to convey through another two projects, 'Where is my Home'  and 'A World of Clouds with an endless Sea' at the very beginning of 1977. The latter project suspect the contribution and influences of the notable Overseas Chinese artists to Chinese modern art and also it is a chance for the foreign critics to measure the suitability and many other aspects of the Chinese art.

From 1977 to 79, Jiwye To studied art in Grantham College of Education. During the study, he was the crossroad of East and West culture so he considered the problem of  culture identification. He read many books and researched different category of art and literature specially the theory of Chinese and Western art, Taiwan modern art and literature, Chinese traditional painting and  calligraphy. After the study, he began to understand himself and his identity. He was sure he is a man from the East, living in the East. As a result, he decided to put all his effort in working for the East.

In 1982 TO melted Chinese metaphysical ideals, the technique of Chinese traditional painting, the mood of modern man, the elements of Western art into one pot in his 'An Association of Lotus' installation in order to express the emotion and psychological state of modern Chinese. 'Meditation' which combine  with  thirty-two mirrors and a Buddhist image was the representative work. The mirrors reflect the spectators so that the spectators are part of the art work.

From 1986 to 89, TO studied art and philosophy in Hong Kong Buddhist College. Over the years, after constant study and research, a distinct direction and cultural concept - develop his art by starting from the integrity of Chinese culture - has gradually appears in To's mind and work.  The idea of Zen and Phenomenology become his view on life and nature and elements of his art.

From 1984 to 1988, he published the arts criticism magazine “Melting Pot Journal” to promote art criticism in Hong Kong. The magazine had commented the development of art in mainland China, Hong Kong and Taiwan. He acted as the editor and developed the magazine into interactive media amongst Chinese artists all over the world.

In 1988, he participated the China contemporary art movement and promoting the concept of “Art China”, with a view to forging open a new way to develop Chinese contemporary art.

In 1989 he founded an art group called the Art Action which teamed up with artists from mainland China, Taiwan, Hong Kong and the USA to promote  Chinese contemporary art and the idea of  “Art China” with exhibitions, lectures, seminars and forums in different parts of the world.

In 1995, he organized a conference in Hong Kong to discuss the idea of “Art China” and the development of Chinese contemporary art in the 21st century. Scholars of mainland China, Hong Kong, Taiwan, Australia and Canada were invited to address the issue in the conference.

TO has participated in numerous local and overseas exhibition in museum, gallery and art fairs. His works are being collected by private collectors, corporations, and museums: Shanghai Art Museum, Hong Kong Alliance of Franciase, Macau Urban Council Gallery, The University of Sydney, The University of British Columbia, Canada, The Chinese Cultural Center of Vancouver.