Ingrid Pui Yee Chu

  • Oscar Chan Yik Long, How do we know if the dead would not regret their efforts to survive?, 2020, knotted wool rug,   9' 10“ x 9' 10”.
    picks September 10, 2021

    Oscar Chan Yik Long

    Hong Kong’s annual Hungry Ghost Festival, an event which pays tribute to the deceased who return to roam the city during the seventh month of the Chinese lunar calendar, serves as an ideal backdrop for “Don’t Leave the Dark Alone,” Oscar Yik Long Chan’s debut solo exhibition. The smallest work on view, The Most Misplaced Worry, 2018/20, is a transparent cigarette box containing twenty paper cylinders emptied of tobacco and modified by the artist—his hand-drawn bouquet of ghoulish black-and-white figures dance and creep across each cigarette stem. These spirits populate much on show, including

  • View of “Henry Shum: Vortices,” 2020.
    picks November 05, 2020

    Henry Shum

    Shadowy figures congregating in groups and in pairs, on boats and in nocturnal groves, inhabit “Vortices,” Henry Shum's first solo exhibition at Empty Gallery. Largely rendered in a palette of blue, brown, and orange alongside hints of green, fourteen paintings slowly and steadily captivate the eye through the artist’s restrained repertoire of gestural drips, stains, and veil-like washes, guiding visitors through the labyrinthine corridors and darkened rooms of the Hong Kong gallery. The black box installation, a hallmark of the space, here lends Shum’s compositions a mysterious aura, their

  • Chen Wei, Mushroom, 2016, archival inkjet print, 59 x 74".
    picks May 11, 2020

    “Anonymous Society for Magick”

    The “natures miracles” of Cinquecento humanist Giambattista della Porta’s 1558 book Magia Naturalis (Natural Magick) suffuse curator Ying Kwok’s exhibition, where multimedia works by five Chinese artists test the trope of the artist as magician. Several participants harness light and shadow to create hyperreal environments. Taking the form of a carousel lantern, Lam Tung Pang’s The Great Escape (all works 2020 unless otherwise noted) combines painting, sculpture, and video to cast a mountainous dreamscape along connected false walls. Nearby, Chen Wei’s color-soaked visions of Hong Kong surface