2015
Aspire- Wayne Warren, China Art Projects – project space, Hong Kong, September 2015
Wayne Warren plays with words and values. Notions of greed as contained in the dual words ‘want’ and ‘need’ are embedded in the mundane. Our values are distorted when materialism and the puerile is elevated to ‘god-like’ status. Warrens work highlights the consumer’s fixation with materialism and challenges the market valuation of physical goods. Warren graduated in 1972 from Exeter University, London, with a bachelor’s degree in Art and Education Psychology. He has held solo and group exhibitions in the United Kingdom, Japan, Europe and the United States since 1976 and his work is held in government, corporate and private collections internationally.
Back to the Future, Cat Street Gallery and China Art Projects – project space, Hong Kong 2015
Artists: Sim CHAN 陳閃, Halley CHENG 鄭哈雷, CHIU Yin Man, Dabie 趙燕雯, Homan HO 何文聰, KO Tin Yan, Celia 高天恩, KWONG Man Chun 鄺萬春, LAW Ka Nam, Bosco 羅家南, LING Pui Sze, CC 凌佩詩, Local Studio HK 本土工作室, LUNG Yuet Ching, Joyce 龍悅程, NG KwunLun, Tony 吳觀麟, Esther POON 潘淑嫻, SIU Kwok Kin, Stanley 蕭國健, Damon TONG 唐偉傑, Cam WONG 黄麗茵, WONG Shun Chi, Vanessa 黃舜之, WONG Yin Kwan, Queenie 黃燕君, YUEN Ka Yee, Angela 阮家儀
Hong Kong is experiencing an interesting time in its history. A barren and rocky island at the extremity of the Qing Empire in 1842 when it was forcibly annexed by the British Empire, Hong Kong has grown into a major world finance and business center. Such rapid social and civil change must have left a profound impression on the thinking and cultural development of this society. The Cat Street Gallery and China Art Projects have invited 18 Hong Kong artists to address these questions in a unique body of work for this ‘Back to the Future’ exhibition.
Gao Ping, China Art Projects – project space, Hong Kong, September 2015
Gao Ping trained in the art powerhouse of the Oil Painting Department at the Central Academy of Fine Arts in Beijing,she now combines her acrylic and oil painting practice with her delicate ink on paper works, inspired by the traditions of the Song and Ming Dynasty masters. A paradox lies at the heart of Gao Ping’s art practice: the longer you look at works which initially seem frail, delicate, and even tentative, with their tiny figures or domestic objects floating in a vast emptiness, the more emotive weight they attain. They deserve the long look, and repay you for it with a growing sense of stillness, and an awareness of how beautifully observed they are.
Luise Guest, Australia July 3, 2012
Gao Ping, Seva Frangos Art, Perth Australia
Gao Ping finds her ink work both sad and “calm in heart”. In these works, created with traditional inks on silk or rice paper, objects float in a vast empty space, creating a dynamic relationship between the forms themselves and the space they inhabit. Her deep knowledge and understanding of traditional painting is evident in the ‘rightness’ of her placement and the confidence of her mark-making. She says that tiny things are sometimes more important than the large and obvious, and her work creates an ongoing narrative grounded in her idiosyncratic observations of people, places and events.
Luise Guest, Australia July 3, 2012
Grey Scale, China Art Projects – project space, Hong Kong
Artists: Gao Ping, Kwong Manchun, Liu Zhuoquan
Grey Scale is a joint exhibition by Gao Ping, Beijing, Kwong Manchun, Hong Kong and Liu Zhuoquan, Beijing. The exhibition is a continuing series of projects highlighting the work of selected Chinese and Hong Kong artists who use black/ grey/ white as an emotional and intellectual element in their work.
Soho Lane Installation, Tony Scott, Soho 189 Hong Kong
Scott’s work has been indelibly shaped by his experiences of a changing China over that time. Found objects picked up in Beijing’s Panjiayuan “dirt market” are employed in witty constructions which merge the autobiographical – memory and corporeal experience – with the metaphysical. His ‘Modern Medical Machine’ installations comprised of sinister apparatus, often in combination with the traditional acupuncture figures he has found in the markets, suggest the fragility of human biology and its vulnerability in the face of disease and invasive medical interventions.
Luise Guest, Tony Scott 20 Years in China Sydney 2016
Wayne Warren, H 40 x 40 cm, 2012
Wayne Warren, H124 x 91 cm, 2012
Wayne Warren, H 45 x W15 x D15 cm, 2012
Stanley Siu, 2015, Sugus Candy, instant adhesive, glasscover, wooden base, D 30 cm x 45 cm
Sim Chan, 2015, wood, acrylic, LED, glass, mirror, acrylic box, stainless steel, 32x32x14
Halley Cheng, 2015, pencil, color pencil, alcoholic markers on lin
Local Studio HK, 2015, ink on glass, 21 x 29.7cm
Ling Pui Sze CC, 2015, mixed media on paper, 30 x 30 cm
Kwong Manchun, 2014, oil on canvas, 136 x 100 cm
Homan Ho, 2015, Aluminium, rice, paper, graphite, computer controlled elevation device, vid
Cam Wong, Etching on paper, 2012, 77 x 95 cm
Bosco Law, 2015, ink on paper, 50 x 50 cm
Angela Yuen, 2015, Motor, Perspex, Plastic Toys, LED light, 68x 37x45cm, 2015
Celia Ko , 2005, fabric, feathers, brass, antique, objects, crystals, procelin, ima
Esther Poon, 2015, Yarn bombing
Tony Ng, 2016, 60cm x 65cm (H), 40cm diameter
Gao Ping, 2012, oil on canvas, 33 x 35cm
Gao Ping, 2012, oil on canvas, 65x50cm
Gao Ping, 2014, ink on paper on silk, 48 x 45 cm
Gao Ping, 2013, ink on paper, 45x37cm
Gao Ping, 2013, ink on paper, 35x97cm
Gao Ping, 2013, ink on paper, 45x97cm
Gao Ping, 2013, ink on paper, 35x97cm
Gao Ping, 2013, ink on paper, 45x97cm
Kwong Man Chun, Oil on canvas, 110x140cm, 2014
Kwong Man Chun, Ink, acrylic on paper, 50x56cm, 2015
Gao Ping, 2012, ink on paper, 45x36cm
Installation shot
Installation shot
Installation shot
Street view