Art|Basel Hong Kong 2022. Blindspot Gallery
Lam Tung Pang presents his potted city series (2022), his latest body of wood panel paintings depicting mountains and cityscapes condensed into a potted domestic bonsai tree. Reflecting on the scale of his microscopic self against the monumental world, the artist embraces feelings of nostalgia and loss while preparing for the journey ahead. These allegorical landscapes serve as a token of memory for the artist.
An ChengThe paintings transport us to Iceland where the artist did a residency in 2018. Wandering through the sparse landscapes of the Nordic winter, the artist found companionship and solace in his interior dwellings. Assembling photographic fragments with mental images, she selectively depicts specific subjects, while plunging the rest of the pictorial landscape into a surreal blur. Simultaneously at Blindspot Gallery, Cheng presents his personal exhibition What’s up when you’re not home?.
In Horizon Scan No.6 (2017), Andrew Luke torch pieces of a painted canvas using homemade napalm, sticking the charred pieces into a recessed light box with gradually changing color temperature. The illuminated room appears to resemble rough, barren terrain. Interested in the material history of civilization, the work reveals and compresses facets of human and natural histories into a single frame.
So Wing PoThe unique sensitivity, observation and imagination of towards the fabric of nature is manifested in its brand new kinetic sculpture Organ #4 (2022). A sculptural study physically replicating a vital biological organ is forged from medicinal herbal powders sourced from nature. Reflecting on the correlations between inner and outer macro and micro-organic substances, So crafts ecosystems that defy the natural orders of the universe.
In the hair embroidery work Juliet (2019), Angela Su reconstructs and recontextualizes the anatomy of the female body, where skin and internal organs are metamorphosed into a complex web of mechanical hardware and alien growth. Reflecting on the history of the female body as a highly politicized and gendered vessel, Su’s female cyborg challenges these existing constructions.
Sin Wai Kinit is A world dreaming that they are you (2021) is a makeup remover wipe printed with the face paint of their character The Storyteller who made their first appearance in the video work today’s best stories (2020). Challenging media biases rooted in news reporting, The Storyteller examines the often indistinguishable pair between reality and illusion.
Zhang RuyiThe practice deals with the intersection between organic phenomena and industrial landscapes, his sculptures often reminiscent of relics in a post-urbanist landscape. by Zhang Matt substance (2019-ongoing) incorporate fragments of demolition sites, transforming cactus life into artificial stone. These extinct forms of life become monuments steeped in natural history.
Frequently personifying plants as an extension of the human condition within his practice, by Trevor Yeung Hanging Mr. Cuddles (Green) (2022) is an uprooted Pachira tree tied and suspended from a corner with construction straps. Commonly referred to as the Money Tree with its braided trunks, Yeung depicts these aggressively bound species in awkward and precarious positions, their captivity mimicking their own twisted nature.
Jiang Zhithe latest edition of his oil painted series, The world is yours and ours (2013-ongoing) sees the artist intentionally blurring images of landscapes through digital processes and screen printing techniques. The artist pushes the paint through the porous fabric of the polyester canvas, blurring the visual field on both sides of the picture plane. Oil painting ultimately materializes as a union of photographic and printed elements.
In Glowing specks of dust (2021), Chen Wei features a scene of a pedestrian, reimagining the ignored specks of dust on the sidewalk as a scattering of sparkling gems and jewels. Against the backdrop of an industrial and gentrified China, Chen Wei frequently expresses mixed feelings about the equally new and neglected city. Imbued with an illusory air, the image straddles the ambiguous boundaries between the familiar and the imaginary.
Jiang Pengy manipulates photographic film through exothermic processes in its Sun! Sun! series (2018-ongoing), creating abstract images using the rays of the sun. Using a magnifying glass to intensify the sunlight, the artist lights a flame, burning scars and cracks on a cardboard contraption that covers a light-sensitive film. Like afterimages when staring at the sun, photographic film reveals a set of spectral streaks.