Closing Party of 'Home' | Solo Exhibition by Gordon Cheung
Happy New Year, everyone! Please join us in celebrating the new year and the closing of British-Chinese artist Gordon Cheung's debut solo exhibition in Hong Kong, 'Home'.
Room 205 – 208, 2/F, 334 – 336 Kwun Tong Road, Kowloon, HK
(Car access from Tai Yip Street/MTR Station: Ngau Tau Kok)
Galerie Huit is pleased to present ‘Home’, Gordon Cheung’s first solo exhibition in Hong Kong, from where his parents emigrated, to London where he was born and raised. The exhibition features a new body of mixed media paintings and Chinese windows, continuing the artist’s question and critique on the effects of global capitalism and its underlying mechanism of power on our perception of identity, territory and sense of belonging.
The word ‘home’ evokes the place where one lives, especially as a member of family or household. It also carries the meaning of returning by instinct to one’s territory after leaving it. Being both Chinese and British, Cheung witnessed the 1997 British to China handover of the then colonised Hong Kong. His dual identity prompts him to think about the definition of home, where and what it is, and the narratives of conquest. What is the meaning of home in an age where the world order is changing at accelerated speed? How can a domestic domicile be powerlessly torn down and replaced with a shopping mall or a skyscraper, all in the name of progress?
Hong Kong is often used as a backdrop in science fiction to explore the intersections of old and new architecture. The compressed futuristic city is composed of layered expressions of humanity, history and civilisation, forming a feedback loop that we collectively define but also simultaneously defines our identities. The existential questions of ‘who, why and what am I?’ are universal questions of consciousness, and also the germinating seeds of transformation that Cheung layers into his work.
Suspended in the gallery, Cheung’s new series of Chinese windows, made from financial newspaper and bamboo, refer to homes in China with traditional window designs that were demolished for rapid urbanisation. Here they hover between states of ‘being’, suggesting a ghost architecture that would have supported the windows. They act as a demarcation between Communism from what might be paradoxically called Communist Capitalism.
Looking through the windows, Cheung’s unearthly still life paintings feature luminous flowers that curve out of decorated pots. The blooming flowers, based on Dutch Golden Age still life paintings over 370 years ago, represent the birth of modern capitalism, an era when ‘Tulipmania’, the world’s first economic bubble was triggered by the speculative trade in tulip bulbs. Cheung’s work alludes to a genre that romanticises futile materialism and fragile life yet ostentatiously displays symbols of power and wealth while omitting the darker truths of how they accrued its empire through colonisation, slavery and militarised trade routes.
At the base of the pot, blossoming flowers sit precariously on what appears to be an abstract shape that is based on the artificial islands built by China in the South China Sea. The use of sand in Cheung’s paintings refers to the act of reclamation from which the islands are referred to as ’The Great Wall of Sand’. Yet, the nature of sand is that it is ever shifting and easily blown away.
Gordon Cheung’s first solo show in Hong Kong signifies the artist’s return to a place that means family heritage, yet at the same time feels distant because of the changes that come along with its history, economy and society. Mapping myths to geopolitics that define what a home might mean, his dreamlike filigree flowers, landscapes and windows explore the existential tensions of the individual and the collective in an era of rapid transformation, conquest and Capitalism. Cheung explores the progress of histories written by victors and civilisations shaped by mythologies - themes that are inherently embedded into his work and creative process. In this exhibition, his thoughts are expressed through the notion of the “in-between” - that in an increasingly technologised era, our perception of time and space are in a state of constant flux.