Opening reception with the artists
29th August, 2013 (Thursday) 6:30 - 8:30 pm
[23 August, 2013, Hong Kong] 10 Chancery Lane Gallery invites you to join us at the end of
summer for the exhibition opening of eight young Hong Kong artists. The exhibition marks the
second edition of the HKFOREWORD series organized by 10 Chancery Lane Gallery, launched
last year in order to support the development of contemporary art in Hong Kong. The exhibition
will showcase our selection of works by eight young Hong Kong artists, Kanlun CEN, Kate IP, Liz
MOK, Dicky MA, Dennis MAN, Eason TSANG, Po TSANG, and Tiana WONG.
Artists in the show are recent graduates from School of Creative Media at City University of Hong
Kong, Chinese University of Hong Kong and The Academy of Visual Arts at Hong Kong Baptist
Kanlun CEN (b.1990, Shanghai)
Kanlun Cen presents an anamorphic animation work, projecting simultaneous images onto a
cylindrical base. While one sequence is clear and in proportion (conveying reality), the other is
distorted and reminiscent of a dreamlike state or the hazy inner workings of the mind.
“In the installation, the distorted image projected on the tabletop is reflected in the cylindrical
mirror, which plays the role of an anamorphic decoder for the stream of consciousness. It enables
us to decipher the undercurrent in the mind and thus confront our desire."
Kate IP (b.1990, Hong Kong)
Kate challenges the absurdity of our public space where everything seems to be designed to
prevent one from simply sitting, a space open to everyone on equal terms but full of restrictions.
Her photographs document her performances where she ingenuously finds ways to lie down, to
sit, to have a meal in the city.
“There are people in the city that wish to inhabit its marginal/fringe spaces. While the city’s public
spaces are owned by everyone, they are full of restrictions. The performances and the
photographs that document them depict a way that everyone would be welcomed to lie down and
take a rest freely in our city.”
Liz MOK (b.1982, Hong Kong)
Liz Mok explores an inner struggle through her two channel-video Soul.Tide. She uses a rubber
band that symbolizes tension, erosion and pain experienced within.
“I got the inspiration for Soul.Tide from a rubber band. While a rubber band is an inconspicuous
everyday object, functionally, when stretched it endures a lot of tension, only snapping when over
extended. I tied up several rubber bands one by one, then pulled the two ends tightly apart.
Instantly it became an object of danger. ”
Dicky MA (b.1989, Hong Kong)
Dicky MA presents stylized and provocative photographs of his grand mother and her friend,
challenging the perception of the elderly as quiet individuals going to yum cha. He also captures
the perversion of Hong Kong where money, fame and fashion prevail.
“I like to capture the disappearing local cultures, themes related to urban renewal and city
development. Back in 1997, when the transfer of sovereignty took place, many citizens were
pessimistic about the future of Hong Kong that resulted in a migration tide. In recent years, the
same trend is occurring in Hong Kong once again. I’d like to portray the locality and uniqueness
of Hong Kong through my photographs at this moment of time, as well as to challenge the rules.”
Dennis MAN (b.1988, Hong Kong)
Dennis MAN explores the relationship between the city and its residents where excessive
information is lining the streets, each sector corresponding to a specific consumer target group.
Having observed the proliferation of illegal advertising, whereby at night after the banks are
closed, individuals paste up posters over the windows, capitalizing on yet another city surface to
promote goods and services. Dennis intervenes with his own posters, all of which are plain blue,
without images or text, a marked contrast to the visuals usually countered.
“The city is full of strategically placed consumer information, whereby advertising promotes
products and services on just about every surface. In Nathan Road, it’s common to see illegal
advertising placed outside banks after closing. A series of actions is performed to question the
relationship between our city and us.”
Eason TSANG (b.1986, Hong Kong)
Eason TSANG presents photographs of flowerbeds that he has meticulously re-created to mimic
closely the flower patterns of fabrics in fashion garments. Looking carefully at the minor details,
the layout and colors give an artificial and almost uncomfortable look to the photographs where
he has also added elements like cigarette buts or detritus that could have been lost in a real
“I attempt to artificially and realistically replicate the patterns of floral fabrics using real flowers,
and record the results with a camera. The original floral fabrics were sourced from fashion brand
catalogues or fabric samples that I purchased from the market. I use real flower to re-create the
fabric and must modify the colors on some flowers by painting over them, as the artificial colours
of the flowers on fabric don’t necessarily exist in nature.”
Po TSANG (b.1991, Hong Kong)
Po TSANG created what she called an ‘abnormal’ seat. A seat that prevents her from sitting and
idling. The metal structure she devised as a seat is extremely uncomfortable and constricts her in
a tight fitting-space designed to her measurements.
“An abnormal seat / which has changed the normal rules / and has changed the usual practice I
constantly remind myself of the dilemma between normality and abnormality. The work is
designed to be uncomfortable, making it unbearable to sit for prolonged periods. It forces me into
Tiana WONG (b.1979, Hong Kong)
Tiana Wong’s installation Wallflowers explores feelings of invisibility in a friendship whereby one’s
undivided love to a friend only meets partial attention. When a relationship is one sided and you
are left on the outer edges as merely a bystander. The muteness of the colors and textures
enhance the feeling of a silent observer who has resolved to stay patiently in the background
rather than withdraw.
“I wish it was only the two of us left in the world. Let’s encounter the world as wallflowers.
The work explores the equivocal jealousy in an overly close friendship and complicated emotions
one faces when defending or guarding the other friend, but only ever feeling like a bystander. ”