‘Cumulus’, my aluminium wall sculpture greets visitors to ‘The Deck’, the new Cathay Pacific Business Class Lounge in HKIA.
My recent work was featured by two galleries at the Sydney Contemporary Art Fair in September 2017.
The first two wall sculpture works were exhibited by Sundaram Tagore Gallery (HK, NY and Singapore) at Sydney Contemporary 2017.
‘Moving Mist’, 2017. aluminium, 82 x 107 x 18cm
‘Edge of a Sky’, 2017, aluminium, 60 x 77 x 16cm
The final image shown here, was exhibited by Utopia Art Sydney at Sydney Contemporary 2017.
‘Reclamation’, 2017, reclaimed teak and clear acrylic rod, 90 x 28 x 22cm
My work, ‘Construction Timber Mountain’, 2017, plywood offcuts and stainless steel, 24 x 45 x 33 cm, was part of the HK Human Rights Arts Prize for the HK Justice Centre, held in Blindspot Gallery in Wong Chuk Hang.
Since industrialisation, humans have acquired the power and ability to transform their environment on an unprecedented scale. The natural and the man-made are both essential aspects of our modern world and finding a balance between these two concerns is the subject of this sculpture. Environmental regulation impinges on the human right to a healthy environment in which to live, and also other economic, cultural, social, political and civil rights. This cannot be enjoyed if the environment becomes impaired beyond a critical level.
Unfinished sculpture “Current Crossroad”. This work is ‘ready’ for “Beyond Completion” exhibition at Hong Kong Baptist University. The intention is to show works that could be the result of a studio accident or material testing, demonstrate a thought process and /or did not make it to a finished artwork.
G/F & 1/F Koo Ming Kown Exhibition Gallery
5 Hereford Road,
Kowloon Tong, Hong Kong
Exhibition duration: 24 March – 6 April 2017
Opening: 24 March, 7pm
This recent body of work takes its impetus from the Chinese school of landscape painting, called Shan Shui: the school of mountain and water. Taking the motifs from Shan Shui, such as mountain peaks, cloud, and twisted pine trees, I have made work which attempts to capture the atmosphere of these painting but to bring the ‘language’ of the works into an awareness of a contemporary engineered treatment of landscape.
I used the residency time at Pimary to directly draw from the spectacular surrounding mountainous landscape in Tai Po and translate it into a series of works. The referential starting point of my current practice is the Shan-shui school of Chinese landscape painting. The works made aspired to feel closely connected to the peaceful atmosphere of the Tai Po Pimary location yet retain a sense of proximity to the engineered reality of the city.