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DTSTART;VALUE=DATE:20240707
DTEND;VALUE=DATE:20240722
DTSTAMP:20260520T140118
CREATED:20240703T045108Z
LAST-MODIFIED:20240703T045108Z
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SUMMARY:Wich Chau: WHITENESS
DESCRIPTION:Odds and Ends is pleased to present WHITENESS 雪漫\, a debut solo exhibition by Hong Kong artist Wich Chau\, organised by Wonderwall Gallery. \nChau has partaken in multiple design and installation art projects over the past decade\, he began exploring oil painting and amassed a sizeable body of work since 2020. In 2023\, he created new works inspired by the snowy landscapes of Japan during a six-month stay in the country. Upon his return\, Chau decided to hold his first solo art exhibition titled “WHITENESS” with Wonderwall Gallery. Through his delicate use of blue ball point pen on paper\, Chau’s work dances between reality and illusion\, prompting contemplation about the universe and life.
URL:https://cultureplus.asia/event/wich-chau-whiteness/
LOCATION:Odds and Ends\, 7/F\, 111 Queen’s Road West\, Sheung Wan\, Central and Western\, Hong Kong
CATEGORIES:Painting
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240502
DTEND;VALUE=DATE:20240609
DTSTAMP:20260520T140118
CREATED:20240425T104116Z
LAST-MODIFIED:20240425T104116Z
UID:10020740-1714608000-1717891199@cultureplus.asia
SUMMARY:Of Other Spaces: Heterotopia
DESCRIPTION:Odds and Ends is pleased to present Of Other Spaces: Heterotopia\, a two-person exhibition featuring works by French artists Barbara Penhouët and Vincent Ruffin. The exhibition is presented in collaboration with RHK STUDIO as part of the 2024 edition of French May and will be on view from 2nd May to 8th June 2024.    \nOf Other Spaces: Heterotopia explores concepts of heterotopia and emplacement theorised by French philosopher Michel Foucault\, through contemporary paintings by Penhouët and Ruffin. The exhibition draws parallels between modes of meaning-making in the pictorial plane and sense-making in our reality\, exploring the creations of illusion in both art historical and social contexts. Conceived as an open-ended question\, rather than an answer\, the exhibition aims to dissect our ever-changing world through the painted lens of two contemporary artists. Their practices oscillate between abstraction and figuration\, attesting to the vitality of the painted medium and the reciprocal transformations that take place between philosophy and art.   \nBarbara Penhouët’s practice addresses Sigmund Freud’s notion of Das Unheimliche (the Uncanny) \, recreating our everyday experience of confronting the familiar and the repressed through painted portraits. Choosing to work from observational photography\, Penhouët’s work exist within the disparity between objective reality and perceived reality\, further emphasising the phenomena of the uncanny in our highly performative society. By obscuring close up portraits of her subjects\, her paintings evoke uncanny sensations whose meaning only becomes apparent upon close inspection.  \nDescribing her practice as Peinturethéâtre (Theater Painting)\, Penhouët’s work echoes Pina Bausch’s theory of Tanztheater\, where dance transcends its fundamental expression of movement to evoke human emotions and unveil relational dynamics. In a similar vein\, Penhouët’s Peinturethéâtre transforms the canvas into a stage that explores the human condition\, unravelling tensions and harmonies within individuals that exists beyond the painted plane.  \nPenhouët’s artistic experimentation with solarisation and deliberate obscuration transcends mere technique; it becomes an invitation for narrative building. By manipulating light and shadow\, she crafts an atmosphere that extends beyond the confines of the canvas\, urging viewers to delve into the depths of their own interpretations. This exchange between artist and audience sparks a form of escapism\, where the boundaries of tangible reality blur\, and the mind is free to wander amidst the rich tapestry of pure imagination. \nTo Vincent Ruffin\, his interest in heterotopia lies in its juxtapositional nature. Depicting scenes where disparate forms come together in relational settings\, Ruffin illustrates the duality of utopia and heterotopia through magical realism. Characterised by his use of vivid colours\, dreamlike imagery and unexpected juxtaposition of elements\, \nRuffin weaves the extraordinary into the everyday\, inviting viewers to embrace the enchanting mysteries within the familiar. Developing each painting from memory\, personal photographs or found images\, Ruffin portrays ordinary people in extraordinary manners\, positing them in otherworldly environments that hint at fantastical and dreamlike narratives. At once realistic and familiar\, enigmatic and inscrutable\, his paintings are akin to a nostalgic dreams that invite deciphering through colours and forms. \nHeavily inspired by philosophy and literature\, Ruffin’s practice is a mean of understanding human relations through painting. While his work often appears outlandish and nonsensical\, they remain allegorical in nature and are reflective of his observations of the human condition. Inspired by writers such as Voltaire and Shakespeare\, Ruffin deploys magical realism as a mean to metabolise the observable world around us. The pictorial plane constructed by Ruffin provides a metaphorical platform for social critique and philosophical ponderings\, prompting viewers to acknowledge and observe the uncanniness of everyday reality while exploring the wonders of human existence. \nPart of the French May Arts Festival 2024
URL:https://cultureplus.asia/event/of-other-spaces-heterotopia/
LOCATION:Odds and Ends\, 7/F\, 111 Queen’s Road West\, Sheung Wan\, Central and Western\, Hong Kong
CATEGORIES:Painting
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240318
DTEND;VALUE=DATE:20240414
DTSTAMP:20260520T140118
CREATED:20240312T235737Z
LAST-MODIFIED:20240312T235949Z
UID:10019263-1710720000-1713052799@cultureplus.asia
SUMMARY:Evergreen
DESCRIPTION:Odds and Ends is pleased to present Evergreen\, a group exhibition showcasing new works by four Hong Kong female artists; Blair Lam Hiu Suet\, Chong Hiu Wing\, Heidi Ling Wai Shan\, and Ivy Ho Man Kei. The exhibition marks the re-opening of the gallery in its new location\, and will be on view from 18th March to 13th April 2024\, with an opening reception on Monday 18th March from 5-8pm.Evergreen brings together four recent graduates of Hong Kong Baptist University whose practices alchemise natural elements into painting forms. Their paintings while varying in styles and techniques\, all attempt to capture the ephemerality of human emotions through conceptualisation and abstraction of nature. Each artist cultivates a sensibility to the inherent qualities of nature\, examining the constant flux in relationships between nature and the sociological contexts they exist in.Heidi Ling Wai Shan’s practice is preoccupied with the conceptual dissection of societal nature relations\, depicting highly symbolic objects and figures in surrealistic manner. Her paintings Outer 在外 \, 2024 and Within在內 \, 2024 explore the philosophical and social perception of autonomy through the metaphorical relationship between a fish and a fish tank\, asserting that the view we hold of the natural world profoundly shapes the image we develop of the social worlds. Ling’s practice explores anew the way contemporary art conceptualises nature from the multiplicity\, duality and cultural diversity of metaphors. \nChong Hiu Wing’s interest in nature lies in its transient and emotive qualities. Her recent paintings such as Tender Whispers 冰冷的溫柔\, 2024 draw inspirations from her Winter travels\, reducing vast snow-filled landscapes into soft fields of pastel. The minimalization of landscape in Chong’s paintings serves to highlight the emotional construction of nature\, amplifying its sublime quality and its capacity for emotional evocation. The process of which culminates in highly romantic interpretations of landscapes that serve as the conduit between the tangible and the abstract\, the familiar and the enigmatic. \nEncapsulating the essence of organic abstraction\, Blair Lam Hiu Suet’s recent paintings derive inspiration from the fluid and organic structures of nature. Her highly abstract paintings adopt microscopic modes of visual representation and reconfigures mimetic convention of the natural environment. Emphasising the materiality of paint\, her recent works such as Cyclops\, 2024 exemplify the metabolic process of transforming observed environments into an aesthetic experience through the abstraction of organic forms. Adopting a medium-froward painting practice\, Lam’s exploration of abstract forms of nature result in a body of works that are highly rhythmic and electric. \nExploring our childlike fascination with astronomy\, Ivy Ho Man Kei’s new works merge the observed and imagined wonders of outer space. One of Ho’s major artistic interests lies in creating extraordinary experience from the ordinary\, much of which is achieved through keen observations of mundane everyday activities. Bringing attention to the meditative qualities of star gazing\, Ho’s new works such as The Fleeting Star 一瞬即逝的星星\, 2023 are presented with the naïve sentimentality of children’s illustration\, conveying a common sense of fantastical optimism that is collectively shared by children and adults alike.
URL:https://cultureplus.asia/event/evergreen/
LOCATION:Odds and Ends\, 7/F\, 111 Queen’s Road West\, Sheung Wan\, Central and Western\, Hong Kong
CATEGORIES:Painting
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231130
DTEND;VALUE=DATE:20231224
DTSTAMP:20260520T140118
CREATED:20231127T004553Z
LAST-MODIFIED:20231127T004553Z
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SUMMARY:Virginia Lo: Throbbing Soul
DESCRIPTION:Odds and Ends is pleased to present Throbbing Soul\, a solo exhibition by Hong Kong artist Virginia Lo. \nThrobbing Soul is an emotive exploration of place memory\, a concept intrinsically tied to social displacement\, environmental psychology and notions of placelessness. To Lo\, the response to placelessness often takes the form of nostalgia\, a particularly acute form of place memory incited by sightings of urban objects and architectural landmarks. A particular object of interest to Lo is the soon to be obsolete public telephone booth\, an object once intrinsic to our daily lives now rendered irrelevant by new technology. Yet\, its looming presence in public spaces offer an interpretation of the story of their existence\, giving back echoes of their past. By isolating a single phone booth\, Lo bestows in her paintings a narrative power that treats objects in urban environment as mediators through time\, communicating basic elements about our society’s material and immaterial culture. \nLo’s preoccupation with place memory is rooted in its resistance to geographical and contextual mapping\, resulting in paintings that register fractures of existence that are both impossible to negate and impossible to locate. Subject isolation is one of many tools Lo uses to establish an artistic practice in which emotions and personal experiences take on decisive importance. In more ways than one\, Lo regards her paintings as forms of text that are open to and rely on viewer’s emotional interpretations. Her paintings are grounded in accounts of memory that emphasise its visceral and emotional qualities\, promoting a form of viewing that is personal\, relevant and open to negotiated meaning in an otherwise increasingly prescriptive educational world.
URL:https://cultureplus.asia/event/virginia-lo-throbbing-soul/
LOCATION:Odds and Ends\, 7/F\, 111 Queen’s Road West\, Sheung Wan\, Central and Western\, Hong Kong
CATEGORIES:Painting
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230616
DTEND;VALUE=DATE:20230723
DTSTAMP:20260520T140118
CREATED:20230619T023036Z
LAST-MODIFIED:20230619T023036Z
UID:10020118-1686873600-1690070399@cultureplus.asia
SUMMARY:LOVE at Odds and Ends
DESCRIPTION:Odds and Ends is pleased to present a group exhibition titled LOVE at Odds and Ends at the gallery space from June 16th – July 22nd\, 2023\, curated in collaboration with LOVE\, an LGBTQ+ focus artist collective based in Hong Kong led by curator Kalen Wing Ki Lee\, to showcase eight emerging LGBTQ+ artists\, including Lee himself\, Glo Cheuk Yan Chan and Dr. Deyn\, Ashton Hui\, Sammi Wing Sum Mak\, KY Ka Ying Wong\, Nicholas Yu Bon Wong and Monique Yim. \nStatement from the Curator — Kalen Lee\nIt was December 2021. I was conducting a visiting fellowship in San Francisco. I was greeted and moved by many beautiful encounters in the LGBTQIA+ communities. Artists\, curators and art administrators work unitedly and amicably for the queer communities regardless of their genders\, cultural backgrounds and sexual preferences. There was this calling: it is imperative to work for the community regardless of where you are and who you are. We found LOVE\, an artist collective based in Hong Kong serving the LGBTQIA+ and queer-friendly communities. \nIn June 2023 the Pride Month\, we work with odds and ends gallery that is not accidental\, perhaps serendipitous. LOVE debuted at the Affordable Art Fair Hong Kong 2022 where we met odds and ends. It was love at first sight. We respect each other: vision\, taste\, and charisma. The exhibition we present here LOVE at odds and ends exemplifies our commons: a group exhibition of emerging queer artists from Hong Kong\, Asia and beyond\, and a tasteful selection of contemporary arts to redefine what art-making means to us and the communities. Artists and artworks that we presented in this exhibition is diverse. We work with 7 artists from Hong Kong\, Taiwan\, Thailand and the UK of CIS male and female\, gender non-binary and a brave one who is undergoing transitioning. The artistic practices range from photography\, painting\, sculpture\, literature and mixed media; whereas subject matters include self-expression\, identity formation\, exploration of same-sex relationship\, and what and how cultural and societal milieux have imprinted on us. The selected artwork\, we hope\, is loving\, refreshing and empowering. \nLots of LOVE. x
URL:https://cultureplus.asia/event/love-at-odds-and-ends/
LOCATION:Odds and Ends\, 7/F\, 111 Queen’s Road West\, Sheung Wan\, Central and Western\, Hong Kong
CATEGORIES:Painting,Photography
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230427
DTEND;VALUE=DATE:20230604
DTSTAMP:20260520T140118
CREATED:20230420T101629Z
LAST-MODIFIED:20230420T101939Z
UID:10019785-1682553600-1685836799@cultureplus.asia
SUMMARY:Dami Kim: The Stories We Tell Ourselves
DESCRIPTION:Odds and Ends is pleased to present The Stories We Tell Ourselves\, a solo exhibition by Korean- American artist Dami Kim. This marks the gallery’s one year anniversary since opening in 2022\, and Kim’s first solo exhibition at Odds and Ends gallery space\, following her solo debut at Art Central 2022. Presenting a series of new abstract paintings\, The Stories We Tell Ourselves will run from April 27th to June 3rd 2023. \nAs a continuation from her previous body of work\, Kim expands her art historical studies in The Stories We Tell Ourselves\, delving deeper into the lingual power of allegorical and narrative paintings. To Kim\, art is akin to anthropology\, an investigation of what is quintessentially human. And the telling of human stories through art presents a view of the world that transcends the logical\, physical and material\, allowing her to create an elaborate world of narratives that challenge manufactured chronology and ideologically driven assumptions of artistic purposes. \nWhatever their setting or source\, stories serve to facilitate the continuation of an individual’s sense of self. They make imagination external\, and thus collective in their expression of experiences\, cultural concepts and values. Through painting\, Kim forms a communication system with viewers in a manner not afforded by language alone\, but instead relies on symbolic and self-referential cognition. Deriving inspirations from classical allegorical paintings\, Kim’s new paintings respond to our neurological instincts and tell stories that access the world of mythologies hard-wired into our subconscious. The Stories We Tell Ourselves presents works with narrative functions that do no unfold sequentially in time\, instead employing formal prompts that encourage viewers to delve into their own experiences and nostalgia in pursuit of their truth\, however they see fit.
URL:https://cultureplus.asia/event/dami-kim-the-stories-we-tell-ourselves/
LOCATION:Odds and Ends\, 7/F\, 111 Queen’s Road West\, Sheung Wan\, Central and Western\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2023/04/Dami-Kim_Idealization-2022-Oil-on-paper-10.5x15.5cm.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230301
DTEND;VALUE=DATE:20230409
DTSTAMP:20260520T140118
CREATED:20230330T010308Z
LAST-MODIFIED:20230330T010308Z
UID:10019681-1677628800-1680998399@cultureplus.asia
SUMMARY:Lio Sze Mei: Ad Astra
DESCRIPTION:Ad Astra is a debut solo exhibition featuring new works by Hong Kong artist Lio Sze Mei. This exhibition marks the artist’s first solo presentation in Hong Kong\, showcasing Lio’s works on metal plates and canvas in an exploration of dreamscapes\, fairy tales and childhood. Ad Astra will be on view from 1st March to 8th April 2023. \nDerived from the Latin phrase “per aspera ad astra”\, meaning “through hardships through the star”\, Ad Astra is an exhibition heavily inspired by J.M. Barrie’s Peter Pan. The allure that Neverland holds for Lio is in its phantom nature and the infinite potentiality in childhood. In Lio’s utopia\, a child is permitted to inhabit a boundless world of dreaming\, they’re free from the pressure of committing to a path or definite self. Working with canvas and metal plates\, Lio creates hauntingly beautiful dreamt up landscapes that emulate the hazy effect of dream collection.
URL:https://cultureplus.asia/event/lio-sze-mei-ad-astra/
LOCATION:Odds and Ends\, 7/F\, 111 Queen’s Road West\, Sheung Wan\, Central and Western\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2023/03/CItosa9QJnF4HosInLMf4cH3Wc2DvOTvsXEKqYX7.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20221215
DTEND;VALUE=DATE:20230205
DTSTAMP:20260520T140118
CREATED:20221212T032825Z
LAST-MODIFIED:20230119T004341Z
UID:10019286-1671062400-1675555199@cultureplus.asia
SUMMARY:Billy Cheung & Scott Sueme: Chips Off The Old Block
DESCRIPTION:Odds and Ends is pleased to present Chips Off The Old Block\, a two-person exhibition featuring new works by Canadian artists Billy Cheung and Scott Sueme. This exhibition marks the pair’s first presentation in Asia\, bringing together the ceramics of Cheung and the assemblage paintings of Sueme in an exploration of creative synergy between contemporaries and studio mates. \nTitled Chips Off The Old Block\, this exhibition explores idiomatic parallels between genetic heritability and the creative forces that shape Cheung and Sueme’s practices. To both\, the aetiology of creativity is ingrained in the generative nature of art-making\, the process of which is defined by the synergistic interactions of historical\, cultural and technical studies. Through their latest series\, both artists share habits of mind in recognising the atomic foundation of art-making\, while seeking individualistic approaches to expand and heterogenise the concept and process of creation. \nCeramicist Billy Cheung’s latest body of work addresses socio-cultural aspects of creativity in the context of Asian diasporic experience\, conceptualising social disequilibrium in a collection of sculptural ceramics. As a Cantonese immigrant living in Canada\, Cheung approaches his studio practice with the same grit and wit he inherited from his parents. The conceptual and technical process of Cheung’s studio practice is informed by a sense of displacement and cultural misalignment that has permeated his household and the wider Asian diasporic community. In his search for cultural belonging\, Cheung developed an interest in organic sculptural form that lends itself seamlessly to his latest body of work. Sculptural and grotesque\, his ceramics draw from qualities inherent to the material and process of working clay\, visually and tactfully referencing the expressive nature of their shapes while addressing issues of social belonging and otherness. “Every piece tells a story of individuality\, tracing boundaries of bodily curves between those who belong and those who don’t […] My new work is about finding the connection with our ancestors that shape who we are as individuals in the present\, yet sharing common traits with one another. I feel like my body of collective work speak on the strength of heterogeneity and its ability to build bonds through communal union.” Through his latest body of ceramics\, Cheung dissects the medium’s ability to convey emotional literacy\, shape expressionism\, and form language. \nTo artist Scott Sueme\, the concept of creative heritability manifests in both technical and conceptual forms. As an abstract painter\, Sueme’s interest in the generative forces of painting is rooted in the removal of premeditation from the act of making. Built on a growing vocabulary of form\, pattern\, and symbol\, Sueme’s latest series of assemblage paintings draw parallels between the natural processes of cellular biology and the generative power of abstraction. Woven by a labyrinth of visual components\, Sueme relies on the relational familiarity of colours\, the natural compatibility of materials\, and the intuitive unification of the two in the formation of his assemblage paintings. Likening the creative process to that of driving home on a dark road\, Sueme says “You can only see as far as your headlights\, but you can make the whole trip home that way. It allows for new compositions in paintings that I wouldn’t necessarily be able to create\, if I was working from a draft. It removes my own agency to allow for something new to bubble up from the surface and surprise me.” In a creation process that mimics children block play\, the physical assemblage of Sueme’s paintings emphasises intuitive exploration while working within the framework of abstract painting. The synergistic effects of which is achieved by a faithful reliance on our subconscious\, imagination and intuition in both the creation and reception of abstract art.
URL:https://cultureplus.asia/event/billy-cheung-scott-sueme-chips-off-the-old-block/
LOCATION:Odds and Ends\, 7/F\, 111 Queen’s Road West\, Sheung Wan\, Central and Western\, Hong Kong
CATEGORIES:Crafts,Painting
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20221112
DTEND;VALUE=DATE:20221214
DTSTAMP:20260520T140118
CREATED:20221114T000606Z
LAST-MODIFIED:20221121T002504Z
UID:10019185-1668211200-1670975999@cultureplus.asia
SUMMARY:Roll Call
DESCRIPTION:Odds and Ends is pleased to present our first edition of Roll Call\, a recurring group exhibition that showcases artwork by current gallery artists and introduces newly joined artists of Odds and Ends. This edition of Roll Call will showcase artwork by artists Ann Wong\, Corn Shuk Mei Ho\, Ghost Mountain Field\, Jeff Tung\, Jonathan Jay Lee\, JUM\, Lewis Lau\, Peter Chan\, Peter Yuill\, and Sammi Mak. \nIn addition\, Roll Call also celebrates the launch of Odds and Ends Art Store\, the gallery’s e-shop\, where limited edition prints\, art merchandise and selective original artwork will be available for purchase. To mark the occasion\, a promotional coupon of 11% off all purchases and offer of free shipping for orders over HKD 1000 is available for users from now until 30th November\, 2022. \nAnn Wong\nA seasoned ceramicist and educator\, Ann Wong is a Hong Kong based artist whose practice revolves around creating fantastical ceramics that explore notions of materiality\, form\, and colour theory. With a longstanding relationship with the medium\, Wong states that her current practice is less concerned with creating formally and technically perfect work\, and more preoccupied with exercising creative agency through the highly malleable medium. Wong’s current works take a highly playful and child-like form\, her signature human-dog hybrid character was inspired by her beloved dog whose likeness can be found in many of her ceramic works. \nCorn Shuk Mei Ho\nLondon based Hong Kong artist Corn Shuk Mei Ho’s most recent series “Night Swims Series” (2017-2022) is a project that continues her journey into the dark waters of the human psyche. The characters depicted in the paintings reflect a state of feelings including isolation\, solitude\, uncertainty and fear. The reflections dancing off of the dark waters surface are a symbolic description of these hidden emotions. They mirror the feelings of the characters as if they were like nocturnal animals that are only comfortable to feed and hunt in the dark. \nGhost Mountain Field\nThe unique style of Hong Kong artist Ghost Mountain Field is defined by his audacious use of colours and incorporation of mixed media elements. Inspired by his upbringing in colonial Hong Kong\, Ghost Mountain Field’s multifaceted practice explores concepts of cultural identity through Cantonese pop culture and social traditions\, delving into how they influence cultural taste within the context of contemporary Asia. Working with an array of mediums including oil\, pencil and digital media\, the artist’s works are often a marriage of Eastern and Western practice.\n​\nJeff Tung\nJeff Tung is a contemporary photographer who is also a Hong Kong Registered Architect and a Fellow Member of Hong Kong Institute of Architects. Tung finds his passion in architectural and interior design\, and in his leisure time\, pictorial photography. His architectural training has influenced his photos\, which are distinctive in his use of unique perspective\, pictorial perception\, and artistic composition to capture and present the mood\, atmosphere\, and story of the moment.\n​\nJonathan Jay Lee\nBased in Hong Kong\, Taiwanese-American born Jonathan Jay Lee graduated with Departmental Honors in Illustration from Parsons School of Design. He is an award-winning illustrator whose clients have included Marvel Comics\, Mercedes\, San Miguel\, Lamborghini\, Lee Kum Kee\, MINI\, Disney Plus\, Ho Lee Fook\, Asics Tiger\, Japan Tourism Board\, HSBC and NatGeo. He has been a speaker at Apple\, Creative Mornings\, Congreso Tad\, School of Creative Media\, and is named World’s Best 200 Illustrators in Lürzer’s Archive. A former Professor\, Jonathan has also has designed and taught more than 20 different courses in Illustration and Sequential Art.\n​\nJUM\nHong Kong-based Brazilian artist JUM graduated from Savannah College of Art and Design (Hong Kong) in 2015 with a B.F.A. in illustration and photography. JUM works with multimedia and digital mediums to create colourful psychedelic visuals that resonate between real life and imagination. Her subject matters range from portraits\, fantastical gardens\, surrealist landscapes\, abstract shape\, to line drawings\, her works are near lingual and highly autobiographical\, each piece tells the story of a personal dream or journey of self-expression. JUM has worked in digital illustrations\, painted murals\, 2D animations and most recently\, weaving.\n​\nLewis Lau\nLewis Lau is a contemporary painter born in Hong Kong\, currently living and working in London. Lau graduated from the Chinese University of Hong Kong in 2010 with a degree in Bachelor of Fine Arts\, and obtained a Masters of Fine Art degree 2012. Lau’s interest in the obscurity of loneliness began in his student years\, when his major bodies of work examine the insecurity of contemporary living. His continued interest in the subject matter has recently taken various forms and perspectives\, focusing on its interaction with lived experiences\, life events and emotional reactions.\n​\nPeter Chan\nToronto based Hong Kong artist Peter Chan explores critical themes of East Asia inspired by his visit to Beijing\, Shanghai\, Hong Kong\, Singapore\, and Taiwan. Through the autobiography documentation of imagery around him\, he distorts and recomposes imagery to form compositions that allow for new narratives and meaning. Chan’s latest works delve deeper in the dissection of social practices as informed by urban and traditional Hong Kong and Chinese culture. The artist strives to establish an autobiographical connection with viewers through intricate technical execution and familiar visual narratives\, such as scenes from iconic Hong Kong films.\n​\nPeter Yuill\nHong Kong based Canadian artist Peter Yuill works with deeply complex geometric abstraction\, which represents his exploration of the philosophical and existential desire to understand the meaning of existence through mathematical and geometric purity. His work is a combination of highly technical and complex ink drawing and painting on paper. Yuill’s obsession with doing all the work by hand and being deeply involved in every aspect of making the art speak to the deeply meditative and spiritual connection he has with the process of making each piece.\n​\nSammi Mak\nWing Sum Sammi Mak\, born and raised in Hong Kong and currently based in London\, is a graduate of the Academy of Visual Arts from Hong Kong Baptist University. She is currently pursuing her master’s degree at the University of the Arts London\, Camberwell College of Arts. Mak’s works manifest how painterliness stands in the position of language depicting her experience in reality and connection with the universe. The system of poetry opens up my exploration of lexicology with fragments of words to visualisation within the blank space in memories and language. Her work is rooted in connection with the radical beauty of nature\, creating the path to connect with history and human emotions\, as an immersive way to communicate more than in chronological time-space.
URL:https://cultureplus.asia/event/roll-call/
LOCATION:Odds and Ends\, 7/F\, 111 Queen’s Road West\, Sheung Wan\, Central and Western\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2022/11/Jonathan-Jay-Lee_-Duxton-Road2016_Archival-pigment-print-on-acid-free-cotton-rag-paper_70.5x100cm_Ed.of-102APs-scaled.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220922
DTEND;VALUE=DATE:20221101
DTSTAMP:20260520T140118
CREATED:20220916T092309Z
LAST-MODIFIED:20240319T061903Z
UID:10018932-1663804800-1667260799@cultureplus.asia
SUMMARY:Kanny Yeung: Woo
DESCRIPTION:Odds and Ends is pleased to present Hong Kong artist Kanny Yeung’s first solo exhibition\, Woo. The exhibition derives its title from Yeung’s most recent series of abstract paintings\, born from her continued interest in the meditative powers of abstraction. Accompanying the exhibition will also be curated events led by Hong Kong artist Sin and sound healer Grace Mak which will take place throughout the exhibition period. Woo will be on view from 22 September to 31 October\, 2022. \nKanny Yeung’s current practice is anchored in the confluence of mindfulness and art\, exploring notions of neuroaesthetics and the emotive qualities of both the creation and reception of abstract art. The enduring appeal of abstract art lies in its ability to free our minds from the dominance of reality\, and accessing a meditative state of mind alongside the profound healing it brings. To Yeung\, practicing abstraction is a means of metabolising the world\, and an active training of the mind that increases awareness and emphasises emotional acceptance. Her plant and book-filled studio is an environment that helps her arrive to that state of mind\, enabling a meditative state of focus that is translated into flowing abstract forms. \nAs an avid reader\, Yeung imbues her paintings with the same resurrectional power found in written words\, visualised in spiritually harmonious compositions that emphasise the emotional properties of colour and form. Several paintings from this series are also accompanied by poems written by Yeung in her new artist book\, providing guided narratives through which viewers can experience her work. \nExploring afresh the link between mindfulness and creativity\, paintings from the Woo series are inspired by her affinity for nature and poetry\, visually manifesting in both abstracted forms of nature and autonomous forms that are free from mimetic conventions. Works such as Spirit\, 2022 exemplify Yeung’s artistic acuity to the diversity of abstraction\, it is also within this spectrum of abstraction in which her paintings activate a state of mind- wandering that creates new emotional and cognitive associations. Her paintings endlessly oscillate between sensory overload and deprivation\, transforming the gallery into a nondenominational space of nurture. \nEchoing Yeung’s meditative practice\, Hong Kong artist Sin and sound healer Grace Mak were invited to curate site-specific events for this exhibition. Inspired by the mathematical Bézier curve and the cathartic effect of geometric patterns\, Sin will create a site-specific painting as live performance. Whereas sound healer Grace Mak will host two private sessions of singing bowl for reserved guests\, offering moments of introspection and inviting guests to enter a meditative state of relaxation. \nEvents details\nLive painting performance by Sinn\n1 October 2022 (Saturday) \, 12pm onwards \nSinging bowl with Grace Mak 1st session\n16 October 2022 (Sunday) \, 4 – 5 pm\n• Paid event • RSVP at info@oaegallery.com \nSinging bowl with Grace Mak 2nd session\n23 October 2022 (Sunday) \, 4 – 5 pm\n• Paid event • RSVP at info@oaegallery.com
URL:https://cultureplus.asia/event/kanny-yeung-woo/
LOCATION:Odds and Ends\, 7/F\, 111 Queen’s Road West\, Sheung Wan\, Central and Western\, Hong Kong
CATEGORIES:Painting
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220709
DTEND;VALUE=DATE:20220809
DTSTAMP:20260520T140118
CREATED:20220718T231126Z
LAST-MODIFIED:20220730T193218Z
UID:10018649-1657324800-1660003199@cultureplus.asia
SUMMARY:Cookout: Contemporary Condensation
DESCRIPTION:Odds and Ends is pleased to present “Cookout: Contemporary Condensation”\, a group exhibition curated by Eric Kot 葛民輝 featuring works by more than 20 local artists\, designers and master craftsmen and women. “Cookout: Contemporary Condensation” celebrates a unique creative culture birthed from the highly condensed city of Hong Kong\, it sheds light on an ecosystem of creatives that have quietly shaped the everyday social and cultural experience of the people of Hong Kong. The exhibition opens on 9th July 2022 and will be opened daily from 12-7pm. \n“Cookout: Contemporary Condensation” was dreamt up by self-proclaimed Monster Producer\, Eric Kot\, who is widely known for his work as a fashion and design producer\, radio DJ\, actor\, and a member of Cantonese music duo Softhard 軟硬天師. As Kot’s curatorial debut\, he has chosen to address aspects of contemporary living through his personal experience of growing up in Hong Kong’s public housing estates. \nHong Kong is a city constantly confronted with land scarcity\, the city’s solution to this is building highly condensed public housing estates that house almost 30% of the its population. Despite the less than ideal solution\, as a result of such limited circumstance is the citizens’ trained ability to maximise creative output with minimal resources\, and a sense of communal living that is uniquely found amongst residents of housing estates. \nTaking over the gallery space is Like Black Box\, 2022\, an installation piece that encapsulates this spirit of creative and communal living born from Kot’s experience of public housing estates. Inspired by the popular make- shift bunk bed often found in estate units\, Like Black Box is an interactive installation collaboratively designed and produced by Kot and woodwork artist collective Start from Zero. \nDisplayed alongside this installation are individual artworks by Hong Kong creatives such as production designer Jimmy Wonderland\, artist Kelvin Ma\, and poet MATSUSHIMAON 松島安. The communal spirit extends to a series of unique plaster statues created in collaboration with six special guests— Hong Kong actor and musician Jan Lamb 林海峰\, artist and musician Prodip Leung 梁偉庭\, designer and creative director Joel Chu 朱祖兒\, artist and lyricist Siu Hak 小克\, artist Paul Lung\, and design production workshop Taurus Workshop. This series of six statues will be sold in the form of silent auction\, in-person and phone bidding will begin on 9th July 2022. \nCommonly found within the densely populated public housing estates are craftsmen and handymen. The sound of butchers sharpening knives and clanking of metal by metal workers all make up the iconic soundscape and ecosphere of an estate. The humble origins of cultural handcrafting can often be traced back to Hong Kong’s housing estates\, training within those walls generations of craftsmen and women who would go on to shape the city’s cultural landscape. Paying tribute to the art of handcrafting\, on view will also be artwork\, objects and furniture created by local craftsmen and women such as metalworkers master KK Chu and master Tam\, crochet artist collective La Belle Epoque\, and tufting and design agency Elf Lab. \nCurated by Eric Kot\, “Cookout: Contemporary Condensation” is a tribute to Hong Kong’s creatives\, to the public housing estates that birthed the culture and to the people who continue to shape and define it. Standing tall at a space of 3.6 x 7m is a black box of 2280 x 4210mm\, a cultural testimony of a generation’s condensed living.
URL:https://cultureplus.asia/event/cookout-contemporary-condensation/
LOCATION:Odds and Ends\, 7/F\, 111 Queen’s Road West\, Sheung Wan\, Central and Western\, Hong Kong
CATEGORIES:Crafts,Design,Sculpture
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220608
DTEND;VALUE=DATE:20220630
DTSTAMP:20260520T140118
CREATED:20220603T075240Z
LAST-MODIFIED:20220613T041610Z
UID:10018378-1654646400-1656547199@cultureplus.asia
SUMMARY:JUM - Frenzy in the Wild
DESCRIPTION:Odds and Ends is pleased to present Frenzy in the Wild\, a solo exhibition by Hong Kong- based Brazilian artist JUM. On view will be works from The Nature Within series\, including new renditions of several existing prints. \nHail from Brazil\, JUM moved to Hong Kong in 2016 and has pursued an artistic education and career ever since. Upon graduating from Savannah College of Art and Design (Hong Kong)\, JUM began her largest series to date— The Nature Within. Works from this series explores the physical\, emotional and cultural relationship between human and nature\, drawing inspiration from her personal encounters with mother nature in both Brazil and Hong Kong. The Nature Within series began in 2020 as a visual manifestation of JUM’s home sickness\, prompted by her move to Hong Kong and a sense of growing uncertainty that loomed over the city in which she now called home. \nOne major disparity between her home country and current place of residence is the role which nature plays in the everyday lives of its residents. In Hong Kong\, a city whose identity is defined by its architectural skyline and concrete jungle\, nature takes a leisure backseat in the minds of its residents. Many of whom selectively treat it as a decorative element that compliments ones lives but might not necessarily embrace it in its entirety. Whereas the artist’s relationship with nature in Brazil is very much a symbiotic one involving interaction and close physical and cultural associations. To JUM\, the concept of nature is not merely an environmental one\, but also a spiritual one. She believes that the human– nature relationship goes beyond the extent to which an individual believes or feels they are part of nature. It can also be understood as\, and inclusive of\, our adaptive synergy with nature as well as our longstanding actions and experiences that connect us to nature. \nWorks from this series are near lingual and highly autobiographical\, taking inspiration from the artist’s personal encounters with nature. Works such as The Nature Within- Garden\, 2020\, reimagines our relationships to nature\, by creating an intermingling of the two that extends beyond mere co-existence. Dividing the series up into various components of nature\, JUM created a botanical labyrinth in which a re-entanglement and marriage of human and nature take place\, abolishing any perceptions of modern anthropocentrism. Such utopian state is conveyed through surrealistically vibrant mixed media illustrations\, resonating between psychedelia and real life with just enough visual cues for viewers to participate in its entwinement. The fluidity of JUM’s illustration style mimics that of nature\, emulating and reminding us of our capacity to collaborate\, adapt and improvise represents the energy of resilience that flows through all natural existence.
URL:https://cultureplus.asia/event/jum-frenzy-in-the-wild/
LOCATION:Odds and Ends\, 7/F\, 111 Queen’s Road West\, Sheung Wan\, Central and Western\, Hong Kong
CATEGORIES:Painting
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220414
DTEND;VALUE=DATE:20220530
DTSTAMP:20260520T140118
CREATED:20220412T025804Z
LAST-MODIFIED:20220412T025804Z
UID:10018113-1649894400-1653868799@cultureplus.asia
SUMMARY:Something Blue
DESCRIPTION:Odds and Ends is pleased to present its inaugural exhibition “Something Blue”\, a group exhibition featuring works by artists Peter Chan\, Corn Ho\, and Lewis Lau. \nThe colour blue is associated with a wealth of connotations that differ by culture\, carrying with it a rich history and great emotional power. In Western art history\, blue has always been synonymous with royalty and divinity\, evident by the sacred association of the Virgin Mary with Marian Blue. In Chinese culture\, particularly areas surrounding Southern China\, Cobalt Blue is considered an inauspicious colour that is reserved for funeral ceremonies. Yet for some\, strategic incorporation of blue hues in one’s life can improve your Feng Shui. While the cultural connotations of the colour blue can at times seem endless and contradicting\, one thing remains certain about this elusive pigment—it is a brooding symbol of introversion. \nBlue is often used to describe a state of melancholy; “feeling blue” is commonly used to convey an inexplicable emotional state triggered by nostalgia. As an emotion\, melancholy’s most distinctive aspect is that it involves contemplation\, providing an opportunity for indulgent self-reflection. In art\, such contemplative state is often evoked by the use of the colour blue\, whose association with the human psyche goes beyond mere metaphor. Through the works of three emerging Cantonese artists\, Something Blue explores the pensive power of blue and its role in our aesthetic consideration of artistic narrative. \nCorn Shuk Mei Ho’s fascination with the colour blue began during her first trip to the UK\, when she witnessed a stunning evening sky unlike any she’s seen in her native Hong Kong. Her most recent body of work “Night Swims series” examines the colour blue through a journey into the dark waters of the human psyche. Both York\, 2019 and Tunnel\, Mui Wo\, 2014 are reconstructions of a vanished past through place memory; Ho captures memories of these places by focusing on her emotional interactions with the place. Inspired by her own experience of relocation\, Ho’s artistic interest lies in the exploration of place attachment and the inextricable link between memory and place. As a result\, her works often toy with the ambivalent emotional effects of human memory\, melancholy and nostalgia. \nArtist Peter Chan has created four new pieces for this exhibition\, including Turbulence\, 2022 and Study for Reunion\, 2022. Chan is no stranger to pensive imageries in art\, having previously explored the concept in the context of traditional Chinese culture. Inspired by contemporary culture and our current state of affairs\, Chan’s new works instead invite quiet contemplation of our correspondence to the present and future. \nIn his new works Turbulence\, 2022\, Chan uses symbols of the stock market to prompt examinations of our relationship to the culture of affluence\, especially during times of social turbulence. In another vein\, Study of Reunion\, 2022 leverages the metaphor of a framed screen to draw viewers into a world of familiar romance\, inviting projections of subjective nostalgia. Departing from his previous series “Ideals and Traditions”\, Chan’s new works elicit an evaluation of the mutual construction of society and individual in the formation of social mentality. \nAs a Hong Kong native\, Lewis Lau experienced significant cultural shifts during his formative years in the city. Many cultural monuments have given way to lucrative urbanisation projects\, resulting in the rapid erasure of both tangible and intangible cultural heritage; such as the iconic Star Ferry and more importantly\, the moment of escapism it offers its riders. \nPropelled by such social climates\, Lau’s practice manifests as preservation of the ephemerality of collective memory through the experience of Hong Kong culture. His series Come Again\, 2014 is part of a larger body of work centred around Star Ferry which began in 2009. In this series\, Lau preserves time by capturing the passing of a pontoon ferry from a rider’s point of view in a series of six paintings. His work offer a quiet moment of escapism as the ferry ride often does for its passengers\, an experience that occupy many Hong Kong natives’ collective cultural nostalgia.
URL:https://cultureplus.asia/event/something-blue/
LOCATION:Odds and Ends\, 7/F\, 111 Queen’s Road West\, Sheung Wan\, Central and Western\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2022/04/Peter-Chan_Turbulence-2022-Oil-on-canvas-41-x-51-cm-e1649731493609.jpg
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