ToandPartners 03/09/2024 ToandPartners 03/09/2024

Eulan To: A Deep Dive with Ellen Pau on pioneering video art on the facade of Modern Art Museum M+. A influential force in Hong Kong’s art scene, talks Identity, and DAO’s in Asia

Eulan To represents CNTRFLD.ART’s Digital Arts expertise. These artist conversations are part of a series exploring the growth of the digital arts space in Asian contemporary arts, facilitated by the Bright Moments Digital Gallery dinner hosted by ToandPartners at Art Basel 2024 in Hong Kong.

**‘The Shape of Light’ on the M+ Facade, Hong Kong**

CNTRFLD.ART interview with Ellen Pau, a pioneering media artist from Hong Kong who has significantly shaped the landscape of contemporary art in Asia. Born in 1961, Ellen is a self-taught artist and professional radiographer who has been at the forefront of video art since the 1980s. Her journey began with her involvement in Zuni Icosahedron, where she worked closely with Danny Yung, capturing the essence of theatre and stage work through video. Over the years, Ellen has created groundbreaking works such as "The Glove" and "The Disenchantment of Statue," and co-founded Videotage, one of Asia's earliest video art collectives. Ellen's innovative spirit continued to shine through her leadership in the Microwave International New Media Arts Festival and her contributions to independent film productions and the music industry. Her art has been showcased in prestigious venues like the Venice Biennale, Liverpool Biennial, and Asia Pacific Triennial, and her recent works, including "The Shape of Light" and "52Hz," continue to push the boundaries of media art. In this conversation, we explore the influences that have shaped Ellen's work, the role her heritage plays in her art, and her reflections on a career that has spanned decades and crossed cultural boundaries.

CNTRFLD. Hi Ellen, I was introduced to your work by Hans Ulrich Obrist, and I’m thrilled to meet you in person to learn more about your art. I read that you started your career in the medical field as a radiographer. Can you tell us more about that and how it inspired your transition to visual and video art?

EP. When I studied radiology in the early 1980s, I joined the Music Society and the Cine Club. I had a great time with them. It was when Super 8 home movies were dying down, and video was rising. As the Cine Club people explored what film language is, I bought my first video camera. I found this piece of electronic media unstable compared to film. Still, I was fascinated that it allowed me to see its intermedia relation between sound and visuals and its usually unwanted ability to generate colours and noise in feedback and errors.

In 1992, the Asian Cultural Council awarded me a scholarship to NYC to see Nam June Paik, Bill Viola, and Gary Hill's video works for the first time. After returning, I became a canto-pop concert MV director, organizer, and curator for art festivals and exhibitions.

I had the opportunity to meet Hans Ulrich Obrist in Hong Kong in 1996. We discussed showcasing “The Best of Videotage” video compilation for the exhibition “Cities on the Move.” This exhibition, which toured prestigious venues such as Hayward Gallery, Vienna’s Secession, MoMA PS1, etc., was a landmark event. I am so grateful to have this opportunity to show the world of Hong Kong's culture.

CNTRFLD. Thank you for inviting me to visit the Cattle Depot Artist Village and the Videotage event. What is this place? It’s such a cool Asian version of the Meatpacking District turned artist hub. Can you tell us about Videotage, the collective you founded?

EP. Videotage is an artist collective founded in 1986 by me and three friends: May Fung, an independent filmmaker and critic, Chi Fai Wong, an animator, and Comyn Mo, an experimental filmmaker. Our initial goal was to promote video art and experimental filmmaking and explore the boundaries of this emerging medium. We provide hardware and technical support for media artists, organise educational programs, festivals, and conferences, facilitate cultural exchange with the international arts community, and distribute our works worldwide.

In 2002, we moved to Cattle Depot after briefly staying at Oil Street, Hong Kong's first artist-run art space, “Artist Village”. Cattle Depot is a heritage site with almost a hundred years of history, so we wanted this space to be not only a permanent home for artists but also an archive. We started VMAC (Videotage Media Art Collection), a place to digitize analogue videos and store our tapes. Screening, exhibitions, events, and talks will be in the main space at the centre.

CNTRFLD. What is the story behind the establishment of the Microwave International New Media Arts Festival that you also founded?

EP. When Videotage celebrated its first tenth anniversary in 1996, we hosted more video artists and more multimedia productions at the beginning. But for society at large, our works are still entirely unknown outside. So, in 1996, we decided to bring in a festival to facilitate cultural exchange between Hong Kong and international artists, to present new media artworks in a prime location, and, most notably, to grow our audience base.

The festival's name, “Microwave,” comes from the microwave link, a communication system that uses high-frequency radio waves (microwaves) to transmit data over long distances. Microwaves are commonly used in ENG (Electronic News Gathering), which is what we are doing, to bring exciting media artwork to local audiences. Also, I like that microwave (ovens) is quite common in households and are not too high-tech to be accessed.

In 1997, we changed from a video screening festival presenting Gary Hill, Nam Jun Paik to a new media art Festival, presenting interactive installations, games, internet art etc. Universities and schools in Hong Kong did not offer education programs on new media art 25 years ago, so we provided visitors with high-quality, informative docent service. They gave us very encouraging feedback. Some young visitors later become artists working with new media and are our fans. Microwave festival has become one of the region's most important new media annual showcases.

CNTRFLD. Can you share any specific artists, movements, or cultural influences that have played a significant role in shaping your artistic style and vision?

EP. I have worked in medical imaging for over 35 years. This has profoundly shaped my artistic journey. I've witnessed firsthand technological evolution in the field, from video replacing 16mm film in fluoroscopy to computers becoming central in various scanning technologies. The transition from analogue to digital has been fascinating. I learned the theory behind data collection and processing. In my job, I present the hospital's most accurate and truthful medical images. As an artist, I'm drawn to explore the relevancy of abstraction, aesthetics, and values of uncertainty and ambiguity.

I have captivating memories of Osaka Expo 70 from childhood that greatly influenced me. Later in life, I found these memories close to The E.A.T. (Engineering, Art and Technology) 9 Evenings, a series of performances showcasing the collaboration between artists, engineers, and hardware. What I saw in the US Pepsi pavilion in Osaka is them. They put me on a path of working with Art, media, technology and science.

I found works from John Cage, Laurie Anderson and the art movement “Expanded Cinema” inspirational. For me, the most captivating moment for art is its ability to expand the boundaries of human experience.

CNTRFLD. Tell us about your experience living and working in Hong Kong. How does the city's dynamic environment differ from other places you've lived, and in what ways has it shaped your artistic vision and approach?

EP. Living and working in Hong Kong, especially during the 1997 handover, has given me a unique perspective on this city's distinctive and elusive nature. Hong Kong's dynamism is unparalleled—it's a place where change is the only constant, and every moment feels transitional and fleeting—borrowed time, borrowed place, as we always say.

Memories of elsewhere, like Britain, China, Taiwan, Macau, Canada, and Australia, never leave us. The past and the future intertwined, colonial and postcolonial times, the two migration fluxes before 1997 and after 2019, and the people returning to Hong Kong created an atmosphere of perpetual uncertainty. This temporal fluidity of identity has profoundly shaped my artistic vision.

In my work, I constantly explore the elusiveness of reality, questioning what constitutes truth, fakeness, and lies, whether in imaging or narrative construction.

CNTRFLD. How has your heritage influenced your work? Are there specific cultural elements that you incorporate into your art?

EP. Growing up bilingual in Chinese and English, I've been exposed to Chinese and Western cultures. This dual influence has allowed me to develop a unique artistic voice that combines different cultural elements, pop culture, east and west philosophy and new technologies into my work.

Unlike older generations who often worked with traditional Chinese media, like ink painting, my generation of artists had more freedom to explore diverse media, styles and content. We weren't bound by traditions or a particular ideology. We are more idiosyncratic and experimental in some way to create our own voice.

After years working in art, science and technology, I found “cosmotechnics”, a term coined by a contemporary philosophy professor from Hong Kong, Hui Yuk, to be fascinating. This term describes the Chinese view of the "unification of the cosmic order and the moral order through technical activities”. While working on, “F10ral, Zer0”, a project to sonify the DNA information of Bauhinia x blakeana, Hong Kong's emblem flower, a unique hybrid sterile flower found in Hong Kong; I discovered that scientists have researched on the relation between the genome and the 64 hexagrams from I-Ching. This ancient Chinese text has been making predictions for thousands of years from calculations of the binary, yin and yang. It looks at Earth time and Earth, our space from a cosmotechnics perspective.

CNTRFLD. Can you tell us about your background and upbringing? Were there any influences in your childhood that led you to pursue a career in the arts?

EP. I was fortunate to grow up in a household where science and creativity converged. My father, a medical doctor passionate about engineering, often spent his free time tinkering with our home appliances. He repaired washing machines and upgraded air conditioners, bringing a sense of innovation into our daily lives.

One of my fondest childhood memories is the music turntable my father built for us. We'd listen to an eclectic mix of the Beatles, MOR, and classical compositions, sparking my early interest in diverse art forms.

My family's love for visual storytelling manifested in our home movies, captured on Super-8 film when I was young. This early exposure to moving images was further nurtured when my father gifted me my first camera at seven. This present set me on a path to explore image-based media from a young age, laying the foundation for my future artistic endeavours.

CNTRFLD. From your perspective, how has Asian art influenced today's culture over the years, and what is your opinion on the importance and impact of this movement in the global artistic landscape?

EP. 'Asian art' has always been a fluid concept, continuously transformed by artists within Asia and diaspora communities worldwide. At the same time, the Covid pandemic has accelerated a shift towards digital platforms, blurring geographical boundaries. AI generative works also challenge traditional notions of culture and authorship.

Hong Kong's unique position as a cultural melting pot offers a valuable perspective on cultural identity transformation. Our city is home to Western expat artists and HK artists who have experienced growing up abroad, exemplifying a new kind of diaspora. On a different level, digital nomads shift from local geographic locations to the digital realm. Digital artists are reinterpreting traditional Asian art forms using new technologies. For instance, teamLab, a Japanese art collective, creates immersive digital installations that blend traditional Japanese motifs with cutting-edge technology, showcasing how ancient artistic concepts can be reimagined for the digital age.

Both traditional Asian concepts and contemporary global experiences are finding new relevance in addressing universal issues. For instance, my work exploring connections between the I-Ching and A.I. demonstrates how ancient wisdom can provide fresh insights into cutting-edge technologies.

CNTRFLD. How do you navigate the balance between staying true to your artistic vision and adapting to the evolving trends and demands of the contemporary art scene, especially given the current climate in Hong Kong?

EP. Videotage, the artist collective, supports freedom of expression and provides resources to develop locally grown artists. We have long-term partners to present and promote our works to a worldwide audience. There are works that are now censored in Hong Kong. Some artists decided to immigrate to other places. Some directors chose to distribute their works outside Hong Kong to maintain their freedom of speech. It is very sad to see that the city has changed so much. Protecting our history is the utmost urgent task we can do if we want to see hope for the future.

CNTRFLD. As a woman artist, have you faced any specific challenges in the art world? How have you navigated these obstacles?

EP. Videotage, as an organization aligned with the LGBTQ+ community, has been actively engaged in programs celebrating equality and diversity since its inception. Broader societal acceptance took more time to develop. Awareness of human rights gradually evolved as civic action grew. Feminist groups and LGBTQ+ activist organizations increased in number and influence from 80s onward, playing a crucial role in this transformation.

However, Hong Kong has recently witnessed a discerning disintegration of its civic society, particularly in the human rights sphere. Equality and diversity activists were arrested due to the protest and election in 2019.

CNTRFLD. You’ve had your work displayed at M+, the Venice Biennale, and the Guggenheim. Is there a favourite piece or exhibit that holds special significance to you?

EP. I would say “Recycling Cinema”, which premiered at the 49th Venice Biennale in 2001, holds a special place for me. I filmed the Eastern Corridor Day and night during the first month after moving my office to the Oil Street Art Village. I put the camera on a pan head, mimicking the movement of a surveillance camera. The repetition of the camera movement is expected to lead the audience's eye/ head movement. 2 works come out from this film. One is a one-channel video that is emotional, and another is a video installation work that is more like a science experiment. The two works of the same name have different effects on the audience. I like the work because it has a breakthrough in film language, and its kinesthetics take on our senses and body.

CNTRFLD. Your next project is to create a DAO and a digital art gallery. How is that going, and can you tell us more about it?

EP. HK culture grew from the “culture dessert” in the sixties to a vibrant scene in 2020. We want our culture to strive and flourish amidst societal changes. Blockchain is a technology that can preserve uniqueness, it also enables collective decisions and actions. I believe the DAO and digital art gallery are the future. I think it is a perfect platform for Hong Kong.

We are deep into the research and planning phase, strengthening connections with other organisations and like-minded individuals. We are also recruiting artist members who share our passion for this project. Stay tuned for more updates to be unveiled at Videotage's 40th anniversary in 2026. If anyone is interested and eager to get involved, we'd be thrilled to connect with you.

CNTRFLD. Who are your inspirations in the art world? As a mentor to many young artists in Hong Kong, is there an emerging artist we should look out for?

EP. In the early days of my artist career, I worked in Zuni Icosahedron, an avant-garde theatre group led by Danny Yung. Danny is a multimedia artist, architect, comic writer, filmmaker, and dance theatre director who experiments with different media. As a young filmmaker, I produced video documentation for Danny. I learnt a lot from him.

Recently, I found works by Lazarus Chan Long Fung interesting. He has used expanded animation, AI, and gaming in his work. His latest work focuses on affective gaming between the player and the machine. He is building his automata metaverse that operates on the law of physics, quantum mechanics and machine learning.

About Ellen Pau

Ellen Pau is a Hong Kong-born media artist and professional radiographer whose career has spanned over four decades. She co-founded Videotage in 1986, one of Asia's first video artist collectives, and has been instrumental in establishing the Microwave International New Media Arts Festival. Pau’s work has been featured in major international exhibitions such as the Venice Biennale and the Asia Pacific Triennial. Her art often explores the intersection of technology, culture, and identity, reflecting her deep engagement with both contemporary issues and traditional Chinese concepts. In 2023, the Asia Art Archive launched the Ellen Pau Archive, recognising her significant contributions to media art.

CREDITS:

Illustration of Ellen Pau by Maria Chen, inspired by photo by Ng Tze Kwan

All Artwork © Ellen Pau

ToandPartners 03/09/2024 ToandPartners 03/09/2024

Yuman Ng and Alex Cheng: Unveiling the Intersections of Art, Culture, and Innovation

In this engaging conversation, Eulan To, CNTRFLD.ART's digital arts expert, delves into the creative journeys and collaborative endeavours of artists Yuman Ng and Alex Cheng. From the bustling art scenes of Hong Kong and London to their innovative projects and the founding of Wonderwall, Ng and Cheng share their perspectives on the evolving landscape of contemporary art. This dialogue offers a unique glimpse into their artistic processes, the impact of cultural influences, and their vision for the future of art in the digital age.

CNTRFLD. We met in London for the Altruistic exhibition in Brick Lane, and now again in Hong Kong, where you are showing at Fiona Tams’ Heath space. Can you tell us more about the UK and HK exhibitions and how they happened?

AC. It was our pleasure to work with Altruistic and Heath. Both shows are going great! I think they are pretty much the same as both locations are at the heart of the city, and they attract a different range of visitors to see the show. Both the UK and HK exhibitions contribute to a global dialogue, showcasing diverse perspectives and artistic expressions.

CNTRFLD. Can you tell us more about your work, growing up in Hong Kong, and how you came to pursue a career as an artist/creative? What was your journey to becoming an artist, and were there pivotal moments or influences that shaped your artistic identity?

AC. I have been working in graphic, product, magazine, and interior design since 2000. During the pandemic, we built Wonderwall, founded in 2021, an art organization based in Hong Kong. Its mission is to promote and nurture Hong Kong artists by organizing exhibitions and participating in collaborations. We aim to amplify the voices of local artists, emphasizing that art should not be judged solely by aesthetic principles but rather by its capacity to reflect the truest values of the modern world across various mediums.

YN. Growing up surrounded by my father Ng Ko Shek’s (吳高石) traditional Chinese calligraphy artwork was a memorable experience. Recently, we both participated in the CONTEMPORARY HONG KONG ART Biennial Exhibition, which felt like a significant moment for us. Over the past 15 years, I’ve worked as a fashion reporter, fashion designer, and record label founder. However, my heart always yearned for the art world, a dream I’ve had since my youth, and I finally got into the art world.

CNTRFLD. On Wonderwall – Alex and Yuman, can you tell us more about this relationship and how you work together?

AC. It’s all down to MUSIC! I met Yuman during his record label anniversary show back in the day. I was working in the media industry at that moment, and we had the same thought about experiencing FUJI ROCK after the show. So, we went there three times, and we shared our visions of art and music during those three years. I guess this is why we named it WONDERWALL too.

CNTRFLD. Yuman is also a hat maker. Is this a new project, and what are the plans for this?

YN. I started Tasteless Hat Co. in 2014. I will have a new Panama Hat collection this summer and a very interesting collection using wool with some technology coming this winter. It will be a very fun project.

CNTRFLD. I’ve noticed more creatives and artists from Hong Kong in London. The BNO visa has made this happen! From your perspective, how has Asian art influenced today's culture over the years, and what is your opinion on the importance and impact of this movement in the global artistic landscape?

AC. Asian art has indeed played a significant role in shaping global culture and artistic expression. But I think it is very important to always keep the eyes wide open. Art is an open window for people to communicate and feel.

CNTRFLD. I was interested in how you write Chinese characters and words and then paint layers over this. This means there are unseen works, and I know of AI artists using x-ray technology to reveal undiscovered work. Usually, artists from the 19th century, when paint and canvas were expensive, would repaint over work that would have become lost. Will we see you using technology like AI, X-ray, or 3D to rediscover some of your work that has been painted over?

YN. I think X-ray is interesting. I like the X-ray machine. I always want to have one in my studio to X-ray my head every day, see how my mind changes, and maybe discover more unknown ideas.

CNTRFLD. Looking ahead for Yuman and WONDERWALL, what are your plans for the upcoming half of this year in terms of producing more work or anything in the digital space? Are there specific themes or projects you're excited to explore?

AC. We would like to explore more in our upcoming shows, in different countries, scales, and formats. A lighting show is one of the forms that I would like to explore. The interplay of light, shadow, and movement can evoke powerful emotions and enhance the overall experience.

YN. For my artwork, it depends on what I have and what I can use. The idea always comes from nowhere. I think I do not determine it.

CNTRFLD. How does Hong Kong as a city inspire your work, and what are the differences in living/working as an artist in Hong Kong compared to London or anywhere else in the world?

YN. I was born and live in Hong Kong, and I hate it, but also love it. In this contradiction, I am inspired by both hate and love, and many unpleasant people and places. I think living and working is the same thing. Living is the biggest artwork to me.

CNTRFLD. What advice would you offer to individuals contemplating a shift towards pursuing their artistic passions?

AC. No matter how hard it is, everything happens for a reason. Just keep doing it!

YN. Talk to your heart, listen to your heart. Don’t listen to others; they will never understand until you make it happen. And keep going. (Don’t listen to me, too.)

About Yuman Ng

Born into a family of artists, Yuman Ng was deeply influenced by his father, the renowned calligrapher Ng Ko Shek (吳高石). Brushes, Xuan paper, and Chinese ink were the memories of his childhood. His love for linguistics and words has grown stronger over the years. Ng worked as a designer and founder of an independent record label before concentrating on artmaking. Yuman Ng was born in Hong Kong. His practice includes oil painting and installation. He was shortlisted for the 2009 Hong Kong Art Biennale Exhibition. His work draws on fundamental themes of life, being, paradox, and the secular, combining emotional colours and abstract lines transformed from Chinese and English words.

About Alex Cheng

Alex has worked in the graphic and product design field for over 15 years. He set up Cosmos Design & Solutions in 2010, which is a one-stop design and production house providing services to corporates, NGOs, start-up businesses, and arts individuals in their brand positioning and related design development. In recent years, Alex has provided design solutions and website design and development for corporates including Samsonite, Chow Tai Fook, Asia Literary Review, and Liberty Asia.

Prior to setting up Cosmos Design & Solutions, Alex was the Art Director at Dream Cheeky Ltd., playing a leading role in design, production, and marketing. Alex is an expert in gadget and USB product design, being the mind behind some of the best-selling products in the gadget world, including the USB Piano, USB Missile Launcher produced by Dream Cheeky, and USB Mixtape and iFoolish produced by Basic Principles – a product brand under Cosmos.

Since the success of Cosmos Design Solutions Ltd., Alex has established Heed Asia Studio, where he spearheads all branding strategies and ensures all ideas executed flow through the music, F&B, and interior industries.

His latest work is present in Donnie Yen’s debut fashion eyewear brand, Tsuki Izakaya, and Moonzen Brewery. With Alex’s over 20 years of creative portfolio, his clients include a broad range of well-known and up-and-coming brands in Asia – from music and art to property, telecommunications, and other corporates.

CREDITS:

Illustration of Yuman Ng and Alex Cheng by Maria Chen

All Artwork © Yuman Ng and Alex Cheng

ToandPartners 16/07/2024 ToandPartners 16/07/2024

Bianca Tse talks about Kowloon Walled City with Eulan To Exploring AI Artistry

CNTRFLD.ART chats with artist Bianca Tse to delve into her creative journey, from discovering the infamous Kowloon Walled City through a PlayStation game to becoming a pioneer in AI-driven art. In this conversation, Bianca shares how her background as an art director and her fascination with Hong Kong’s chaotic yet resilient history have shaped her unique artistic vision. With AI tools enhancing her storytelling, Bianca explores themes of urban decay, community, and nostalgia, offering a fresh perspective on the intersection of technology and art.

CNTRFLD. I guess you have seen the new Louis Koo film "Twilight of the Warriors - Walled In!" When did you first discover Hong Kong's Kowloon Walled City, the most infamous and misunderstood high-rise community? And what made you start recreating stories using AI?

BT. Yes, and I think most Hong Kongers watched it as well. It’s a very thrilling action movie, and I’m glad it brought the history of my city back into the spotlight. The site of the Kowloon Walled City was demolished in 1994, so I never had the chance to visit it. I knew nothing about the place until one day after school when I played my first PlayStation 1 adventure game, “Kowloon’s Gate,” which was designed based on the Kowloon Walled City. I was drawn into its eccentric world and developed an interest in discovering more about it.

In fact, you can see its influence even without being there. The Kowloon Walled City inspired the Cyberpunk aesthetic and appears in the art direction of popular culture, anime, and movies, such as Batman and John Wick.

In real life, I’ve been working as an art director for more than 20 years. My use of AI image generation started out of FOMO because everyone was saying AI would take our jobs. So, I began learning to use the tool, starting with a topic that inspires me the most. Without too much planning, I started posting my works on Instagram and received positive feedback. Eventually, it evolved into a themed project.

CNTRFLD. Have you read *High-Rise* by J.G. Ballard? It's a story based on modern living in London, offering an abstract reflection of fears stemming from overpopulation, overcrowded spaces, and skyscrapers. Later, it was made into a dystopian sci-fi film about modern living, ending with affluent residents descending into violent chaos. In contrast, Kowloon Walled City was the most chaotic place to live and manage, yet a decentralised system seemed to work. Why do you think that is? Maybe it has something to do with the mindset of Hong Kong people?

BT. I haven't read "High Rise" by JG Ballard, but it seems its themes and narrative contrast with those of Kowloon Walled City. Despite its reputation as one of the most chaotic places to live, Kowloon Walled City functioned through a decentralised system that seemed to work for its residents. From the words of the people I interviewed, they lived next door to crimes, drugs, and prostitution, but they didn’t feel their everyday life was dangerous. In fact, their memories were warm.

Firstly, the majority of residents were low-income working families who had nothing to do with triad activities. Additionally, Hong Kong people used to have a strong sense of community, which could have fostered cooperation and mutual support despite the lack of formal governance. An ex-resident told me there was self-regulation in the Walled City, and the “gangsters” wouldn’t harm the people inside. I believe the resilience of Hong Kong people also played a crucial role in making the community work.

CNTRFLD. Can you describe a little about yourself, your childhood, and how you came to pursue a career as a creative and now artist? What was your journey in digital art and now AI, and were there pivotal moments or influences that shaped your artistic identity?

BT. I was born and raised in Hong Kong, a Gen Y. My upbringing was challenging—I still have vivid memories of living in temporary housing (later in public housing) in Fanling. Our family of five lived in a 100-square-foot metal-sheeted “hut” with a bunk bed. The poverty and small space make me feel connected to the stories about the Walled City. That said, my childhood memories were happy. I was three years old, riding a tricycle with my two-year-old sister in the back seat, traveling between alleys without parental supervision, or catching insects and chewing wildflowers in the bushes after school. Besides the stories of the Walled City, some of my works are about my childhood memories, like the little girl waiting in the rain with her imaginary plastic bag friends. My mother ran a frozen meat shop, and I often had to wait for her to finish work and take me home.

I didn’t have much entertainment as a kid, so I spent a lot of time at the public library reading illustrated books and drawing on paper. Naturally, I decided I liked "drawing things" and wanted to become an artist. I was accepted into the School of Design at Hong Kong Polytechnic University, and my first job was as an assistant art director at McCann Erickson. Although creating for commercials isn’t the same as creating “art”—it’s more of a customer service role—after many years, I felt I needed an outlet for creativity and artistic expression. Without much planning or intention, I started my page, and luckily, it got noticed. I have to say it all happened very randomly, but in a good way.

CNTRFLD. Have you met Greg Girard? His book City of Darkness is a great source for Kowloon Walled City.

BT. I’ve contacted Greg for approval to reference his photographs since I started the page. He has been very generous, and I was fortunate to meet him in person during his trip to Hong Kong for the M+ event this April. I’m very lucky that he agreed to an interview with me, which I then made into an AI movie. It was a very experimental crossover between traditional photography and AI photography, blending historical facts with fantasy, hopefully it can change the impression of those who thinks AI arts are “soulless” or “unoriginal”.

CNTRFLD. Can you share any specific artists, movements, or cultural influences that have played a significant role in shaping your artistic style and vision?

BT. I grew up in Hong Kong, and like many of us, I was heavily influenced by Japanese anime. I particularly admire the comic artist Hirohiko Araki and artist Hajime Sorayama, as well as the humour of Stephen Chow. You might notice that some of my works have a child-like quality, heavily inspired by popular culture, anime, and manga.

There are countless artists who inspire me, such as Chagall and Miró. I tend to be attracted to works that show childishness and innocence with a touch of playfulness. Recently, I admire James Jean.

BT. Growing up during the UK colonial period and witnessing the transition to Chinese sovereignty in 1997 has provided me with a rich tapestry of cultural and historical contexts that deeply inform my artistic vision. Hong Kong is a city of contrasts and dynamism, where East meets West, and tradition blends seamlessly with modernity. This hybrid identity is a significant source of inspiration for my work and my theme. The city's dense urban environment, vibrant street life, and the juxtaposition of old and new architecture have all shaped my aesthetic sensibilities. The ever-changing skyline, bustling markets, and neon-lit streets create a visual and emotional intensity that I strive to capture in my art.

Being a digital nomad, I only spend half of my time based in Hong Kong, which allows me to continually refresh my creative outlook and avoid becoming insular. Compared to other places I've lived, Hong Kong might not be a heavenly place to live but its energy is unparalleled. The fast-paced lifestyle, coupled with the city's resilience and adaptability, has taught me to be versatile and innovative in my approach.

The political and social shifts I've experienced in Hong Kong have also played a crucial role in shaping my work. The sense of uncertainty and the ongoing struggle for identity and autonomy resonate in my art, often reflected through themes of transformation, resistance, and nostalgia. The city's spirit of perseverance and its vibrant cultural scene encourage me to explore and experiment, the blend of local and global influences makes my art a reflection of both my personal journey and the collective experience of living in this extraordinary city.

CNTRFLD. From your perspective, how has Asian arts influenced today's culture over the years, and what is your opinion on the importance and impact of this movement in the global artistic landscape?

BT. Traditional techniques like ink wash painting, calligraphy, and woodblock prints have inspired contemporary art, while principles of minimalism from Japanese and Chinese art influence modern design. Popular culture, including Japanese anime, Korean pop culture, and Chinese cinema, introduces unique storytelling and visual styles to global audiences, leading to a cross-pollination of ideas. The importance of Asian arts lies in their ability to challenge and expand traditional Western art boundaries. As a new artist, I am continually inspired by the depth and breadth of Asian art. It serves as a reminder of the endless possibilities in artistic expression and the power of cultural exchange. The fusion of Asian and global artistic traditions not only enhances the beauty and complexity of art but also fosters mutual respect and understanding among different cultures.

CNTRFLD. How do you navigate the balance between staying true to your artistic vision and adapting to the evolving trends and demands of the contemporary art scene or the current climate in Hong Kong?

BT. Jumping from a commercial art director to an AI artist, the big difference is that in my real-life job, I create to please people and garner a wide audience, making it functional for the market. Making art, to me, is different—it's emotional, it's self-expression and exploration, it's about honesty and authenticity.

In my opinion, art shouldn't be created solely to please the market; it should remain pure and true to the artist's vision. The best arts aren’t those who are “on trend”, the best arts are timeless in any given time and location.

CNTRFLD. What AI tools are you using to create art? Are there any new methods you will also explore?

BT. At the beginning only Midjourney, the technology is moving godspeed and in a year there are thousands of AI tools in the market now. Recently I also use Runway and Luma for my videos.

CNTRFLD. What do you see as the main challenges and opportunities in the digital art space?

BT. Creating art has become more accessible than ever with new digital tools, but this accessibility has led to concerns about originality, with many works heavily influenced by social media trends.; Some may question the authenticity and value of digital art compared to traditional forms, impacting market acceptance and valuation.

On the other hand, digital art has also democratised the creative process, allowing artists to reach global audiences unlike ever before. This accessibility contrasts with traditional art appreciation and collecting, which often required physical visits to museums or galleries. I can also see a lot of new collaborations that I have never seen before, the art scene is more interesting than ever.

CNTRFLD. Looking ahead, what are your plans for yourself and AI in the next half of this year in terms of producing more work in the art sphere? Are there specific themes or projects you're excited to explore?

BT. To be honest, I started this project without any concrete plan, much like how it began on day one. Along this artist journey, I've been fortunate to encounter many opportunities and meet wonderful people. I tend to go with the flow rather than follow a strict path. While discipline is crucial in an artist's life, I believe in continuous improvement and learning. In the future I hope to showcase my works in a more immersive setting than just on phone screens someday.

CNTRFLD. Collaboration is increasingly common in the art world. Have you collaborated, or do you plan to collaborate, with other artists or professionals from different fields? How has that impacted your creative process?

BT. I’m pretty proud of the work I collaborated with Greg Girard, it was a valuable experience with an OG photographer who documented the actual location 30 years ago. Generally, I embrace collaborations of all kinds, preferably non-digital artists, especially when they ignite meaningful and innovative outcomes.

CNTRFLD. What advice would you give to those considering a shift to follow their artistic passions?

BT. Start right now and keep going

Bio

Bianca Tse combines her expertise in visual communication with a profound passion for documentary work, she draws inspiration from the enigmatic lost gem, the Kowloon Walled City. Through a reimagined journey using AI tools, her works transport viewers into a captivating parallel universe of the City of Darkness.

Bianca's artistic style is rooted in storytelling, where she weaves together historical references with the boundless possibilities offered by AI as a creative medium. By blending elements of reality and imagination, she invites audiences to explore the narratives of the Kowloon Walled City, where normal individuals navigate an alien environment. This creates an intriguing juxtaposition between the familiar and the extraordinary, breathing life into its forgotten past and presenting it in a unique light.

CREDITS:

Illustration of Bianca Tse by Maria Chen

All Artwork by © Bianca Tse

ToandPartners 29/06/2024 ToandPartners 29/06/2024

Gordon Cheung and Navigating Borders: A Conversation on Art, Identity, and Innovation. By Eulan To

CNTRFLD.ART’s latest conversation with Gordon Cheung delves into the intricate tapestry of his artistic journey, woven from the threads of personal history and global influence. Born in London amidst the backdrop of Brixton's tumultuous race riots, Cheung's immigrant background from Hong Kong and his experiences as a student during the city's transformative years have shaped his unique perspective as an artist. Embracing his in-between identity, Cheung's work serves as a bridge between cultures, challenging established narratives of belief and power. From his pioneering use of finance and stock prices as artistic mediums to his exploration of digital realms and NFTs, Cheung's oeuvre reflects a profound interrogation of humanity's place within the shifting landscapes of geopolitics and technology. As he prepares to launch his NFT collection "Tulip Futures," Cheung offers sage advice to aspiring artists: nurture your passion, embrace failure, and above all, find joy in the journey of creation.

Cheung’s current solo exhibition, Rise and Fall, at HOFA Gallery in Mykonos aspires to be a visually poetic experience. It aims to ignite an existential dialogue, prompting viewers to ponder profound questions about the trajectory of human civilisation across time and the enigmatic tapestry of our collective human condition.

Gordon Cheung | Rise and Fall

HOFA Gallery, Mykonos

Until 6th July 2024

CNTRFLD. Can you describe a little about yourself, your childhood, and how you came to pursue a career as an artist? What was your journey to becoming an artist, and were there pivotal moments or influences that shaped your artistic identity?

GC. I was born in London 1975, growing up through the Brixton race riots. My parents were immigrants from Hong Kong when it was a British colony and came to the UK in order to find prospects to build a life. When I was a student at Central Saint Martins, I witnessed in 1997 the return of Hong Kong back to China. British education did not provide me with the historical knowledge of how Hong Kong became a colony and the teaching of the British Empire only touched briefly on the colonial crimes against humanity such as the Opium wars.

I have learnt to embrace my in-between identity as a positive in that I can be a bridge of understanding between cultures. These experiences inform my interests in questioning belief, power systems and histories written by victors. I create visual languages in my art to express the human condition framed by geopolitics. A core part of my practice is to create visual structures and processes that question fixed notions of categories. For example, when I was at Central Saint Martins, I decided to paint without paint by substituting paint for information and the brush for technology. Both my British and Chinese backgrounds feed into my work. I am 29th generation from the Cheung clan. I know this because my father’s clan has recorded the family tree in the village that he comes from in the New Territories, Hong Kong. The founder is Zhang Jiugao who was the Director of the Palace Administration in the Tang Imperial court, and he was primarily known as the younger brother of Zhang Jiuling, the Chancellor during the reign of Emperor Xuanzong and also a prominent poet and calligrapher. In Chinese calligraphy, the brush simultaneously represents word, poetry, and image. I created a parallel structure in which I was using the text of the stock market like it was paint, and in that way, it was simultaneously paint, image and poem. This ambiguity of simulating painting was a creative foundation for making my art to question the identity of painting itself and through this space, question our past, present and future histories.

These are some of the key themes and events in my life that have informed and strengthened my conviction to be an artist. When I was a kid there was only one brief moment where I thought I wanted to be an astronaut and would pretend to slowly move in zero gravity. Otherwise making art was always the one thing I loved to do, and I remember the sheer disbelief with floating wonder at being able to devote myself completely to it when I got into art school. Seeing how hard my parents worked helped me to also pursue my dream of making art full time and I’ve been lucky to this day in that respect.

CNTRFLD. We met in Hong Kong, but can you tell us about your experience living and working in London? How does the city's dynamic environment differ from other places you've lived, and in what ways has it shaped your artistic vision and approach?

GC. While I was an art student at Central Saint Martins, Charing Cross Road, it used to be in the vibrant energetic heart of London. I have always loved the racing pulse of a city and I’ve never lived anywhere else, so I am not really able to make a comparison in respect to having lived in another city. But Hong Kong was always a place that I visited, and my parents helped make me feel it was also a home even though I have never lived there. Although I love London, as I have become older, I increasingly prefer the weather and food in Hong Kong. The energy in Hong Kong is even more densely vibrant. It helps that Hong Kong has also had a huge influx of galleries settling and that the contemporary art scene is growing with increasing confidence with its own identity and purpose. This has shaped my artistic vision by consciously rooting it in my in-between identity, leading me to often invent unconventional methods to make art and in the last 10 years my vision and thoughts have turned towards Asia. In particular the last 5 years focussing on learning more about my ancestral roots for which I intend to gather together into my solo show at GDM gallery in Hong Kong that I will call ‘New Territories’ in reference to my ancestry, the colonial past between Britain and Hong Kong and also to exploring new mediums like 3d printed porcelain sculptures made in Jingdezhen otherwise known as the porcelain capital of China.

CNTRFLD. We notice the concept of finance and stock prices plays a large role in your work. Can you expand on this?

GC. When I was at art school in the mid-nineties, it was during the digital communications revolution. The internet was becoming available – cyberspace, digital frontiers, information superhighways, global villages were just some of the buzzwords being used to describe the advent of a technological new world revolution. It was a fascinating moment that I wanted to capture in my work, through this fairly archaic form of art: painting. Western painting abstraction at the time, I thought, was mostly self-interested in its own esoteric language, an insular dialogue about the medium itself and wasn’t really talking about the wider history of humanity and civilisations. I wanted to acknowledge but also sidestep that cultural conversation by removing paint and then substituting that with what I was compelled to connect to, which was the stuff of the everyday, maps and the stock listings of the Financial Times – information. I was using the principles of painting, to paint without paint, in order to philosophically open up the question of what is painting and to reflect on how the technological revolution was reconfiguring our perceptions of time into a state of constant flux. I substituted paint for collage and technology for the brush to reflect upon the light speed transmissions of trillions in Capital and wherever it accumulated created Utopias or Dystopias.

CNTRFLD. From your perspective, how has Asian arts influenced today's culture over the years, and what is your opinion on the importance and impact of this movement in the global artistic landscape?

GC. When I was a student at Central Saint Martins School of Art in the 90s, I naively thought I could choose a gallery to represent my work. However, my search revealed how few Chinese names were on gallery rosters, and those that came primarily from mainland China. It dawned on me that there were extremely limited positions in the London art world for someone with a British-born Chinese identity. With Chinese individuals making up only about 0.8% of the UK population, I realised I needed to take control of my career.

In my second year of my BA, I began organising exhibitions with friends, deciding when and where to show our art. This continued through to 2000, when I was at the Royal College of Art, where I organised, a show featuring over 172 artists in two disused Victorian school buildings. During this period, there was a significant shift in what Western galleries were showing regarding Chinese artists. They moved from focusing on the politically charged and critical avant-garde of the 80s to more diverse expressions influenced by globalisation and economic reform.

Exhibiting Asian arts beyond their homelands can facilitate cultural exchanges and promote understanding and appreciation of diverse artistic traditions. However, it can also reinforce Western stereotypes. As Australian art critic Robert Hughes noted about Abstract Expressionism, art can be a cultural weapon. The gradual increase in exposure to Asian arts among Western audiences helps foster a nuanced understanding of different cultures.

There has been a notable push to move away from the centre-periphery model that views Western art as central and Asian art as peripheral. This shift may reflect the broader transition from a unipolar world towards a new multipolar world order. Scholars and art critics advocate for recognizing the unique contributions of Asian art without always comparing it to Western standards. This shift aims to highlight the diverse narratives and cultural contexts within which Asian artists operate, fostering a more balanced and inclusive global art discourse. Nonetheless, there is still a long way to go in the Euro-American art world.

CNTRFLD. I first saw your work in a Vogue feature that was AR digital lions for restaurateur Andrew Wong’s hoarding during his restaurant renovations. Can you share the digital process and elaborate on how you began experimenting with this creative process? Will we be seeing more digital works in Web3 or NFTs?

GC. The project with Andrew Wong was born from the pandemic and the ensuing Asian hate due to the irrational politicisation of COVID being called the China Virus. Andrew and I wanted to create something positive during this difficult time so I made an artwork with the help of HK based MetaObjects that wrapped around the restaurant's conservatory dining area in which the images of lucky Chinese motifs warding off evil could be animated via augmented reality on the phone. Coincidentally, to everyone’s joy during the project, Andrew’s restaurant won his 2nd Michelin star.

I continued experimenting with digital works in web3 and NFTs in part from my interest in blockchain technology and to explore the relationship between capitalism, the environment, and civilization. My art has always been in the digital realm rooted in the digital and communications revolution of the internet and now into the threshold of the blockchain revolution with recent ventures into NFTs and augmented reality (AR).

Meta’s London HQ then commissioned “Power, Corruption and Lies", where I used a sorting algorithm to non-destructively reorder pixels in a photograph of a still life painting, creating what I call a "digital sands of time" effect. This technique reflects on history's repetition and our data-saturated era's impact on memory and history. Inspired by the 2008 financial crisis, my work references the first recorded economic bubble, Tulipmania, using high-resolution images from the Rijksmuseum.

NFTs have been part of my artistic journey for several years. ``Tulip Maniac," in 2021 was my first NFT, combining 3D modelling, machine learning, and algorithms, using Bitcoin data to animate tulip bulbs. I am now working on the release of “Tulip Futures," My NFT collection. This collection symbolises our evolution from nature to the digital world and the rise of blockchain technology.

CNTRFLD. How do you determine the approach for a new piece, and what challenges do each of these styles present?

GC. That’s a tough question to answer because although I end up with an eventual art form whether that’s a video, painting, collage, sculpture or installation it all comes from ongoing multiple converging streams of creativity.

My approach for a new piece begins by exploring themes and historical contexts that resonate with current events with my ongoing artistic interests. This thematic foundation guides my choice of digital techniques and materials, whether I'm working with collage, paint, 3-d prints, photography, algorithms, augmented reality (AR), or NFTs. For instance, reflecting on events like the 2008 financial crisis or the historical Tulipmania helps frame the narrative I want to convey, influencing the digital processes I employ. My goal is to create a dialogue between the past and present, using modern technology to highlight recurring patterns and universal themes in human history.

Each style presents its own unique challenges. When using algorithmic reordering of pixels in series like "Power, Corruption and Lies," the process is highly time-consuming and computationally intensive, requiring meticulous attention to achieve the desired "digital sands of time" effect. This technique demands a balance between technical precision and artistic intuition to ensure the final piece aesthetically conveys its historical and cultural references. In AR projects like Meta’s mural, "Fear and Greed" and A. Wong’s “Year of the Ox," the challenge lies in integrating digital elements seamlessly with physical artworks, necessitating technical collaboration and careful planning to create a coherent and engaging viewer experience. In my paintings, I often blend traditional techniques with digital processes to explore complex themes such as capitalism, history, and cultural identity. I use a unique method where I incorporate financial newspaper pages as a backdrop, symbolising the pervasiveness of economic systems in our lives. Over these, I paint intricate scenes that reference historical events, natural and mythical motifs, creating a dialogue between past and present, reality and myth. This fusion of media and meaning in my paintings drives me to continually innovate and expand the boundaries of my art to invite viewers to reflect on our humanity within the interconnectedness of our economic, cultural, and natural worlds.

CNTRFLD. Looking ahead, what are your plans for the upcoming half of this year in terms of producing more work in the digital space? Are there specific themes or projects you're excited to explore?

GC. I’m working on releasing a NFT collection called ‘Tulip Futures’ that reflects on the history of capitalism and its relationship with modernity. AI is used to reimagine Dutch Golden Age tulips in reference to Tulipmania but set within a futuristic ‘vaporwave’ landscape: an internet art movement that emerged in the early 2010s known for its nostalgic and sometimes ironic commentary on consumerism, capitalism, and the digital age. The work exists as an NFT on the blockchain. Bitcoin epitomises blockchain technology, a pillar of the fourth industrial revolution and was often disparagingly referred to as a Tulip bubble by the traditional centralised bankers. By leveraging AI tools, "Tulip Futures" serves as a philosophical springboard for contemplating the nature of reality, perception, and economy in an increasingly digitised world. It offers an imaginative framework to critically engage with the intersections of history, technology, and human experience, fostering a deeper understanding of the human complexities inherent in our collective pursuit of meaning and prosperity. Reflecting on how our understanding of the future landscape is influenced by past events and present technologies. It can also signify existentially a landscape devoid of meaning or purpose, ecological degradation, dystopian societal collapse, technological dominance, and epistemological uncertainty. It prompts contemplation on the limits of human knowledge and the choices we make in shaping our future. Ultimately, it serves as a metaphor for the potential futures we may encounter and the challenges we face in navigating them.

CNTRFLD. What advice would you offer to individuals contemplating a shift towards pursuing their artistic passions?

GC. Nurture the roots and core reasons why you are drawn to making art. Keep it alive within yourself by gathering any sparks of inspiration because they will create a fire that will compel you to make art. Cultivate a deep awareness of the landscape that you find yourself in. Embrace the journey wholeheartedly for nothing ventured, nothing gained, as the path to success is paved with failure. Balance patience, passion, persistence and perspiration and you’ll express a profound dialogue between you and the world. Most of all, have serious fun making art.

About Gordon Cheung

Born 1975 in London to Chinese parents, contemporary multi-media artist Gordon Cheung has developed an innovative approach to making art, which blurs virtual and actual reality to reflect on the existential questions of what it means to be human in civilisations with histories written by victors. Cheung raises questions and critiques the effects of global capitalism, its underlying mechanisms of power on our perception of identity, territory and sense of belonging. These narratives are refracted through the prisms of culture, mythology, religion, and politics into dreamlike spaces of urban surreal worlds that are rooted in his in-between identity.

Cheung graduated with a Bachelor of Fine Arts in Painting in 1998 from Central Saint Martins College of Art and Design in London and earned his Masters of Fine Arts in 2001 from the Royal College of Art in London. Select solo shows include Jack Shainman Gallery in New York, The Four Horsemen of the Apocalypse, The New Art Gallery Walsall, Walsall UK, The Light that Burns Twice as Bright, Cristea Gallery, London UK, Here Be Dragons, Nottingham Castle Museum and Art Gallery, Nottingham, UK and New Order Vanitas, Ann Norton Sculpture Gardens, West Palm Beach, FL, USA. His works are held in the collections of the Museum of Modern Art in New York, Hirshhorn Museum in Washington, D.C., the Whitworth Art Museum in Manchester, Royal College of Art in London, and the British Museum, amongst others. He lives and works in London.

CREDITS:

Illustration of Gordon Cheung by Maria Chen

Homepage:

1,3,4,5. Joshua White Photography

6,7. Gordon Cheung Studios

1. Still Life (after Nicolaes van Gelder, 1664), 2017 Signed & dated Archival inkjet on 380gsm Hahnemühle Photo Rag paper Paper 113.5 x 91.0 cm / Image 110.5 x 88.0 cm Edition of 20 + 3 AP

2. The Abyss Stares Back, 2015 Financial Times stock listings, acrylic, pumice and sand on canvas and sail cloth 200 x 450 x 5 cm 78 1/2 x 177 1/2 x 2 in

3. A Thousand Plateaus, 2016 Financial newspaper, archival inkjet, sand and pumice on canvas and aluminium 200 x 450 x 5 cm 78 1/2 x 177 1/2 x 2 in

4. Cradle of Civilisation (Minotaur), 2017 Financial newspaper, acrylic and sand on canvas 200 x 150 x 3.5 cm 78 1/2 x 59 x 1 1/2 in

5. Great Wall of Sand (Unknown Knowns), 2017 Financial Times stock listings, archival inkjet, acrylic and sand on linen 200 x 450 x 5 cm 78 1/2 x 177 1/2 x 2 in

6. Desert of the Real, 2020 Financial newspaper, archival inkjet, acrylic and sand on linen 150 x 200 x 5 cm 59 1/2 x 78 1/2 x 2 in

7. New Order Fruit Piece (after Jan van Huysum, c. 1722), 2022 Signed & dated Giclée on canvas 120 x 90 cm 47 1/2 x 35 1/2 in

8. Home, 2020 Financial Times stock listings, bamboo and adhesive

9. Arrow to Heaven, 2022 Signed & dated Financial Times newspaper, archival inkjet, acrylic, and sand on linen 150 x 200 x 3 cm 59 1/2 x 78 1/2 x 1 1/2 in

10. Gardens of Perfect Brightness, 2022 Signed & dated Financial Times newspaper, archival inkjet, acrylic, and sand on linen 200 x 150 x 3 cm 78 1/2 x 59 1/2 x 1 1/2 in

11. Rising Power, 2023 Financial Times newspaper, wood glue, and polystyrene on thermoplastic polymer 120 x 48 x 32 cm 47 x 19 x 12 1/2 in

12. Merciful Clouds Protect All (Chengdu), 2023 Financial Times newspaper, archival inkjet, acrylic, and sand on linen 150 x 200 cm 59 x 78 1/2 in

13. Gateway to the West (Chongqing), 2024 Financial Times newspaper, archival inkjet, acrylic, and sand on linen 200 x 150 cm 78 1/2 x 59 in

14. Tulip Futures (Arcadian) 1

15. Tulip Futures (Arcadian) 2

16. Tulip Futures (Arcadian) 3

17. Tulip Futures (Savage) 1

ToandPartners 25/06/2024 ToandPartners 25/06/2024

Eulan To interviews Fiona Tam: From Traditional Roots to Contemporary Vision.

CNTRFLD.ART catches up with Fiona Tam, a versatile artist whose transition from traditional Chinese painting to contemporary photography showcases her unwavering commitment to creative expression. Raised in bustling Hong Kong, Fiona's early immersion in Chinese painting and calligraphy sparked her lifelong passion for art. This foundational experience propelled her towards a career dedicated to pushing the boundaries of visual storytelling. Fiona shares insights into her artistic evolution, key influences, and experiences in Hong Kong, a city teeming with artistic inspiration and commercial vigour. Through her latest project, HEATH, Fiona aims to redefine the intersection of art and commerce, challenging conventional retail paradigms and fostering opportunities for emerging artists. Join us as we delve into Fiona's journey, exploring the fusion of tradition and innovation that defines her artistic vision and shapes today's cultural landscape.

CNTRFLD. Can you describe a little about yourself, your childhood, and how you came to pursue a career as a creative? What was your journey to becoming a photographer, and were there pivotal moments or influences that shaped your artistic identity?

FT. I grew up in Hong Kong and began learning Chinese painting and calligraphy at the age of seven. Creating things has always been a passion, naturally drawing me toward art. A pivotal moment in my journey was discovering Francis Bacon’s work, which I still believe remains unmatched in execution and originality. His art solidified my desire to become an artist. I started my artistic journey in Chicago and New York, focusing on oil painting before transitioning into photography.

CNTRFLD. Can you share any specific artists, movements, or cultural influences that have played a significant role in shaping your artistic style and vision?

FT. Robert Mapplethorpe’s photography profoundly influenced my artistic style and vision. I was captivated by the composition and theatricality of his works. They are minimalist yet encompass immense emotional intensity. He is the reason for my deep devotion to black-and-white photography.

FT. Hong Kong, as one of the largest art trading hubs, is filled with auction previews and exhibitions throughout the year. This environment exposed me to a dynamic range of artistic influences and cultures. The vibrant energy and conversations with people from around the world are inspiring and contrast with the atmosphere of slower-paced cities. Hong Kong allowed me to understand not only the artistic side of things but also the business behind them.

CNTRFLD. We notice the concept of art/real estate behind the creation of HEATH. Can you expand on this?

FT. The goal of HEATH is to challenge the traditional notion of a shopping mall by incorporating creative spaces and deviating from the cookie-cutter model. In a business-driven city, budding artists often struggle to gain attention, and I wanted to create opportunities for them to showcase their works.

CNTRFLD. From your perspective, how has Asian arts influenced today's culture over the years, and what is your opinion on the importance and impact of this movement in the global artistic landscape?

FT. In recent years, Asian arts have been pivotal in bridging cultural gaps and promoting cross-cultural dialogue. The impact of Asian cinema, art, and fashion is evident in various facets of global culture, highlighting its significance and potential to diversify the artistic landscape.

FT. Maintaining a balance involves staying true to my core artistic values while remaining open to new ideas and techniques. I believe digital media can be incorporated into spaces through NFTs and virtual reality to create immersive experiences. The main challenge is keeping up with technological advancements, but the opportunity to reach a global audience and engage with new forms of art viewing and commerce is incredibly exciting.

CNTRFLD. Hong Kong being a key city for Web3 and Shenzhen being the Silicon Valley of China. How will you integrate digital media into what you do and what challenges and opportunities do you see in the digital art space?

FT. I think digital media can be incorporated into the space through NFTs and virtual reality to create immersive experiences. The main challenge is staying ahead of technological advancements, but the opportunity to reach a global audience and engage with new forms of art viewing and commerce is incredibly exciting.

CNTRFLD. Looking ahead, what are your plans for yourself and HEATH in the next half of this year in terms of producing more work in the art sphere? Are there specific themes or projects you're excited to explore?

FT. My focus for the next half of the year includes collaborative projects exploring various aspects of culture, including art, music, and fashion-related sustainability initiatives.

CNTRFLD. Can you discuss any memorable or challenging experiences you've had in your work? How do exhibitions contribute to the evolution of your artistic practice? How do you assess the audience's reaction to your work, and how does this feedback influence your future creations?

FT. The most challenging experience for me was not mastering techniques but searching for the right subject. The natural creations that I use in my photography are subject to chance, requiring a copious amount of time and patience to identify them. Exhibitions are essential for evolving my practice, offering a platform to experiment and refine ideas. Audience feedback, gathered through direct conversations and social media, significantly shapes my approach to future projects by highlighting what resonates most with viewers.

CNTRFLD. What advice would you offer to individuals contemplating a shift towards pursuing their artistic passions?

FT. Stay true to your unique vision and don’t be afraid to experiment. The art world is vast, so finding your artistic style may take time. Trust your creative instincts and be patient and persistent in your efforts. Networking with other artists and participating in exhibitions or art fairs can open doors and create valuable opportunities. Consistency is key.

CREDITS:

Illustration of Fiona Tam by Maria Chen

ToandPartners 01/10/2023 ToandPartners 01/10/2023

Eulan To interviews Graham Fink. Creative Director and Multimedia Artist.

Eulan To Partners interviews Graham Fink

I have known Graham for over 10 years now, it took me 4 years to get a meeting and I had to travel over 5000 miles to Ogilvy's Shanghai offices. I got my 15 minutes and I can confirm persistence is the key to success, Graham would say ideas are ! So is talent really overrated?

Graham is my favourite creative, not only because of his ‘Face’ commercial for British Airways, which at the time was the world’s most expensive ad directed by Hugh Hudson where no CGI was involved created only with real people. But in Hong Kong he discovered a 19-year-old graphic design student, Jonathan Mak. Graham commissioned Mak to work on a campaign for Coca-Cola, which went on to win a Cannes Lion Grand Prix and more awarded designs that Coca Cola has ever seen. It was this creative Finking, confidence in giving someone a chance that I aspire to be in a position myself one day.

Me, being a lover of classic Magnum photography, it’s strange that the digital world has given us the opportunity to work together. A year ago I arranged a private commission for Graham to do one of his Eye-Drawings for the Peng family of Hunan restaurant in Belgravia. Restaurant critic, Giles Coren once said Hunan may be the best Chinese restaurant in the world.

Graham Fink and Sophia the Robot

Im Eulan To, and recently caught up with Graham to interview him, and used the ES magazine backpage format.

Here’s how it went.

Home is ? UK.

Where do you stay in London ? Soho, Tower Bridge, Fulham/Parson’s Green.

What is your earliest memory of London ? I remember my grandmother took me up to London when I was about seven years old and dragged me all over the city to visit just every sight possible in a day. But I distinctly remember seeing the Christopher Wren’s monument where the great fire of London started and climbing the 311 steps to the top. I counted them out loud! Then on to Buckingham Palace, the changing of the guard, the Tower of London, the Crown Jewels, and on and on we went. Having only ever lived in the countryside until that point, it was a real shock to the senses. Everything looked so much bigger and more colourful than anything I’d seen to date. From that point, I was determined I would one day live here.

What has been your most memorable meal ? Sitting on an old wooden barrel at 2:30 in the morning in a local street food market in Taiwan savouring a bowl of crispy noodles. It was heaven.

What shops do you rely on ? I don’t rely on shops.

What would you do if you were Mayor for the day ? I’d make every school in London fit for purpose, and bring back compulsory art and music classes.

Best thing a cabbie has said to you ? Once, a minicab driver picked me up in London and said he recognised me and had driven me in Nairobi. Although I had been to Nairobi a few years before, I thought he was joking. He then went on to describe me and the people I was with. It turned out he was a driver on a film shoot and it was indeed the same driver.

Where do you go to let your hair down ? Vidal Sassoon.

If you could buy any London building and live there, which would it be ? I immediately thought of Buckingham Palace, but then thought of the Tate gallery, it would be amazing to live with art all day long. But then I thought, as I love books, perhaps a giant bookstore like Foyles. Then last week I did a talk overlooking Battersea Power Station and I thought at the time it would be pretty cool to live there and look at the river every day. Such an iconic building.

What is your favourite London work of Art ? Too many to mention. But there is a giant painting in the National Gallery by John Martin, called The Great Day Of His Wrath. I’ve looked at that many times in complete awe.

What are you up to right now for work ? I’ve been insanely busy these last few months on a number of projects. But very recently I’ve been involved in doing some work on Sunset Boulevard -The Musical with Nicole Scherzinger, and a massive AI job in development that I’m not yet allowed to discuss. NDAs and all that!

You’re also an agent to Sophia, the humanoid robot, what’s the story there ? Yes, Sophia was created by David Hanson of Hanson Robotics, she is a super intelligent woman and her AI is being upgraded constantly. I did an interview with her last year and drew her with my eyes.

We’ve recently been working together on a project in the US for a big brand. Watch this space.

Who is the iconic Londoner in history ? I’ve always been a huge fan of JMW Turner and his incredible paintings. He was so far ahead of his time. He was born in Maiden Lane in Covent Garden, a stone’s throw from where I work.

There’s a great story about him that I love….

It was during the annual varnishing day at the Royal Academy, a period when artists would come in to apply final touches to their works already hung for the upcoming exhibition, Turner was observed adding an enigmatic red blob to his maritime painting, which seemed complete and was already hung.

This act drew a lot of attention and consternation from his peers, who remarked on Turner's bold and seemingly arbitrary addition.

The next day, Turner returned and with just a few masterful brushstrokes, transformed that red spot into a buoy.

This act demonstrated his deft skill but also showcased his flair for dramatics, whilst making a point about the potency of colour and the transformative magic of a few well-placed strokes.

Are you working on any exhibitions at the moment ? I’m hoping to have a new exhibition of my Eye-Drawings. I’ve been trying out a new way of seeing.

What makes someone a Londoner ? Attitude.

What’s your London secret ? It’s a secret.

What’s one creative phrase every Londoner should know ? Fink Different.

Interview by Eulan To