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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220706
DTEND;VALUE=DATE:20220811
DTSTAMP:20260524T213758
CREATED:20220701T133102Z
LAST-MODIFIED:20220705T032819Z
UID:10018569-1657065600-1660175999@cultureplus.asia
SUMMARY:James Goss: Paradise
DESCRIPTION:Woaw Gallery is pleased to announce its representation of New York based artist James Goss’ and his first exhibition in Asia titled ‘Paradise’. The exhibition is on view from July 6 to Aug 10\, in 9 Queen’s Road Central\, Central\, Hong Kong. \nSpending most of his lifetime in the outdoors of Long Island\, New York City\, Lake Champlain has become an endless source of beauty for James Goss. This source of inspiration serves as the springboard for the string of compositions – ‘White Boat’. Set against the lakeside backdrop\, the series showcases the ever changing appearance driven by time of the day; light or lack thereof to form a stunning glimpse into the calm waterscape. \nInformed by Josef Albers’ instructions of colours\, Goss uses his personal sense of looking and experiments with colours\, rendering vibrant hues that pervade his oeuvre. Accompanied by ample birch trees\, the lake offers a tranquil haven of serenity which lets the light play its game. Among the wondrous colour spectrum that the lake reflects\, the hues during the golden hour accompanies textured and sculptured strokes to exude an aura of serenity. \nNature has long been providing comfort to James\, acting as a beacon shedding hope in his artistic journey – ‘A roadmap to the universe is found within the flower. I’m here to listen and take notes to enjoy all of her splendour’. As the boat sets off from shore\, makings its way through the sea facing all sorts of currents\, waves and tides before docking on an island. James plays with this metaphor\, where the boat sails from island to island representing one’s self journey through life.
URL:https://cultureplus.asia/event/james-goss-paradise/
LOCATION:WOAW Gallery Central\, WOAW Gallery\, 9 Queen's Road Central\, Central\, Central and Western\, Hong Kong
CATEGORIES:Painting
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220526
DTEND;VALUE=DATE:20220708
DTSTAMP:20260524T213758
CREATED:20220518T062839Z
LAST-MODIFIED:20220518T071121Z
UID:10018317-1653523200-1657238399@cultureplus.asia
SUMMARY:En Iwamura: URLANDSCHAFT
DESCRIPTION:WOAW Gallery is pleased to present URLANDSCHAFT\, the Asia solo debut of multidisciplinary artist En Iwamura. Citing the current state of confusion and chaos in the world from the COVID-19 pandemic to climate disasters and catastrophic wars\, the Kyoto- based Japanese artist aims to invoke a sense of lively and wondrous innocence with his paintings\, sculptures\, and installations that take the viewer to a new\, metaphysical realm as the ultimate prompt for contemplation. \nEntitled Neo Jomon: Beans\, Iwamura’s ceramic sculpture series presents “simple round forms” of dynamic beings with childlike expressions that seem almost cartoonish. Portraying themselves in pastel ombres\, the odd and fanciful shapes are cast to inspire a strange-yet-familiar feeling of peace that resonate deeply and thematically with the artist’s abstract ink-on-paper paintings of neutral faces and geometrically fascinating patterns. Similarly\, the newly developed installation of plants is created as an indoor garden in the gallery space to bring forth an ambiguous vision of tranquility that only exists in the viewer’smind\, and with it\, the artist continues the exploration of Ma in his practice – the Japanese concept of space and movement. \nAs alluded by the exhibition title\, the works on show depict “the original scenery from the bottom of the human heart\, which are often accompanied by feelings of nostalgia but may also be a mental landscape rather than a real landscape\,” says En Iwamura. \nKyoto-born and based\, En Iwamura is a Japanese artist holding two MFAs in Visual Arts/ Ceramics and Crafts/Ceramics respectively. His work has been exhibited in Belgium\, France\, Macau\, Japan\, and various cities in the United States. In 2018\, he was an artist- in-residence at China’s Jingdezhen Ceramic Institute.
URL:https://cultureplus.asia/event/en-iwamura-urlandschaft/
LOCATION:WOAW Gallery Central\, WOAW Gallery\, 9 Queen's Road Central\, Central\, Central and Western\, Hong Kong
CATEGORIES:Painting,Sculpture
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220419
DTEND;VALUE=DATE:20220515
DTSTAMP:20260524T213758
CREATED:20220412T023626Z
LAST-MODIFIED:20220412T033545Z
UID:10018112-1650326400-1652572799@cultureplus.asia
SUMMARY:Reflections: Partly Fiction
DESCRIPTION:WOAW Gallery is pleased to present REFLECTIONS: PARTLY FICTION \, a group exhibition curated by Matt Black and Kevin Poon\, featuring works by John Armleder\, Daniel Crews-Chubb\, JPW3\, Jordy Kerwick\, Leelee Kimmel\, Spencer Lewis\, Chris Martin\, Cristina de Miguel\, Julian Schnabel\, Pat Steir. \nThis new exhibition from the REFLECTIONS series titled “PARTLY FICTION” explores the intentional decisions of artists to tell a truth\, their truth\, or their idea of the truth. As per Barnett Newman\, Mark Rothko and Adolph Gottlieb’s manifesto in the New York Times in 1943 “It is our function as artists to make the spectator see the world our way – not his way.” The idea of art from its origins is rooted in the artist attempting to capture what is around them and make it theirs. Art is often a representation of a moment in time through the eyes of the painter\, or simply their personal perspective as it relates to the feelings of the social unconsciousness. \nIt is partly fiction. Through these ten paintings\, the artists as narrator explore their individual interpretations of that truth.
URL:https://cultureplus.asia/event/reflections-partly-fiction/
LOCATION:WOAW Gallery Central\, WOAW Gallery\, 9 Queen's Road Central\, Central\, Central and Western\, Hong Kong
CATEGORIES:Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2022/04/Leelee-Kimmel_Orange-Crush-2022_Oil-Oil-Stick-and-Acrylic-on-canvas_182.9-x-167.6-cm.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220331
DTEND;VALUE=DATE:20220415
DTSTAMP:20260524T213758
CREATED:20220330T091105Z
LAST-MODIFIED:20220408T041245Z
UID:10018089-1648684800-1649980799@cultureplus.asia
SUMMARY:Romancing Relevance
DESCRIPTION:WOAW Gallery is pleased to present Romancing Relevance\, a thematic group exhibition curated by Kevin Poon\, celebrating an unfettered exploration of imagination\, featuring works by Brian Calvin\, Jake Clark\, Sean Gannon\, Evgen Čopi Gorišek\, Baldur Hegalson\, Monika Karandi\, Laure Mary-Couégnias\, Zoe McGuire\, Keita Morimoto\, Charlie Roberts\, and Trude Viken. The exhibition is on view from March 31 to April 14\, in 9 Queen’s Road Central\, Hong Kong. \nIt is said that desire populates the space between artists and their work. Fixated on a subject — a memory\, a taste\, a sensation — the artist transforms raw material into objects of the world. In other words\, this desire catalyses artists to continually experiment and transgress the boundaries set up by their predecessors. In pursuit of the sublime\, the writers and artists of Romanticism\, the literary and artistic movement that originated in Europe towards the end of the 18th Century\, expanded upon notions of myth-making\, landscape\, nature\, and the melancholia. \nA nod to the Romantics\, Romancing Relevance brings together a group of artists who share an obsession with paint and its possibilities. By challenging the bounds of their imagination\, the artists court the contemporary as a site of transfiguration and transformation\, offering up new possibilities for the painterly surface. \nTraversing the land of dreams and mountains\, Zoe McGuire\, Monika Karandi\, and Laure Mary-Couégnias transform paint into mysticism and fables. Preoccupied with contorting memory and representation\, Trude Viken and Brian Calvin deform and reform themselves through self-portraiture. Meanwhile\, Evgen Čopi Gorišek and Baldur Hegalson disfigure bodies and faces\, rendering them into mutable containers of the psyche. A reflection on consumer culture and its contents\, the works of Sean Gannon and Jake Clark open up a light-hearted space of reflection. Citing the Dutch Golden Age and perspective painting\, respectively\, Keita Morimoto and Charlie Roberts offer enigmatic snippets that capture the interiority of the contemporary.
URL:https://cultureplus.asia/event/romancing-relevance/
LOCATION:WOAW Gallery Central\, WOAW Gallery\, 9 Queen's Road Central\, Central\, Central and Western\, Hong Kong
CATEGORIES:Painting
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220225
DTEND;VALUE=DATE:20220324
DTSTAMP:20260524T213758
CREATED:20220221T032007Z
LAST-MODIFIED:20220318T033416Z
UID:10018005-1645747200-1648079999@cultureplus.asia
SUMMARY:Felix Treadwell: Gentle Creatures
DESCRIPTION:Woaw Gallery is pleased to present Gentle Creatures\, the first solo exhibition of British artist Felix Treadwell in Hong Kong. \nIncorporating both East and Western influences into his art through a flattened contemporary style\, Treadwell’s soft rendered paintings depict playful characters\, animals\, and fantastical creatures inspired by his favourite childhood comics. \nFollowing his interest in examining the notions of adolescent vulnerability and conformity\, the works featured in this show explore a more grown-up character in their daily routines of part-time jobs and hobbies\, while revisiting and mirroring the dinosaurs in their everyday journeys millions of years ago. \nTreadwell’s recent works portray our connections over millions of years between two dominions\, a loneliness\, fragility\, and mortality that we and all living beings have to face. The experiences of our lives are so fleeting in the long history of life’s existence\, even the small moments\, such as watering a flower. Yet\, beauty lies in the tiny subject matters. Our lives are made up of numerous scattered moments. The moments might not be seen important separately that they are easily forgettable. But when we see them as a whole\, representing a person\, or the living beings\, the moments shape our lives. Regardless its transient nature\, every living being may once share the same experience\, highlighting the similarities\, differences and speciality in every of us. \nThe dinosaurs and the humans are still naive\, fragile and insecure and may always be\, yet there is beauty in that and a reason to continue existing\, regardless of how short our time is. The limitation of time gives meaning to life. Within the bounded time\, humans are trying their best not only to survive\, but the eager to live\, to achieve their goals and to attain what they want. Treadwell hopes the works can conjure some comfort and relate to our loneliness in the quiet suffering we face.
URL:https://cultureplus.asia/event/felix-treadwell-gentle-creatures/
LOCATION:WOAW Gallery Central\, WOAW Gallery\, 9 Queen's Road Central\, Central\, Central and Western\, Hong Kong
CATEGORIES:Painting,Sculpture
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220122
DTEND;VALUE=DATE:20220218
DTSTAMP:20260524T213758
CREATED:20220120T072225Z
LAST-MODIFIED:20220121T065321Z
UID:10017947-1642809600-1645142399@cultureplus.asia
SUMMARY:Jordy Kerwick: Année du Tigre\, L'heure du Tigre
DESCRIPTION:WOAW Gallery is pleased to present the first exhibition of the year\, Année du Tigre\, L’heure du Tigre\, a solo show of France-based Australian artist Jordy Kerwick. Featuring a new body of works filled with brilliant colours and vibrant energy\, the exhibition celebrates the lunar new year of the Tiger and investigates the topical themes of power\, fear and hope. Année du Tigre\, L’heure du Tigre opens on 22 January and runs until 17 February 2022. \nKnown for his raw\, thickly impastoed works that explore the classic genre of still life through a contemporary perspective\, Jordy Kerwick is a self-taught artist who has built his art away from the conventional structure of art-making\, and plays around with textures and surfaces with a candid approach. Motifs and characters are brought down into rough shapes that veer toward abstraction\, creating a flattened view of the three-dimensional space. Powerful strokes and expressive colours form energetic compositions that reveal beauty in its most organic and truthful state\, recalling the art of Modernist masters such as Henri Matisse and Helen Frankenthaler. \nDrawing from his collections of imagery of cultural markings\, people\, places and things – especially from daily life – Kerwick’s strongly autobiographical works divulge deeply personal stories. A husband and father of two sons\, domestic life has been one of his key sources of inspiration\, depicted in an unfiltered manner. Scribbles of geometrical shapes by his sons are often seen in the background of the paintings; other times\, his sons are portrayed as double-headed serpents or tigers. Considering his youth living in Hong Kong\, Kerwick connects his memories with the Chinese traditional zodiac stories. \nTiger\, at once an immanent threat\, a Taoist signifier of spiritual power\, and a mythical animal\, is void of reality in Kerwick’s works\, acting as a somber reminder of failed efforts to rise against oppression in a metropolis that thrives on the exchange of fortune and power. Predatory animals and imaginary beasts – serpents\, wolves and unicorns – are juxtaposed with symbols of worldly pleasures such as music-related elements\, reminiscent of Vanitas. Despite the playful imagery\, it is but a portrait of the essential character of life – its fragility.
URL:https://cultureplus.asia/event/jordy-kerwick-annee-du-tigre-lheure-du-tigre/
LOCATION:WOAW Gallery Central\, WOAW Gallery\, 9 Queen's Road Central\, Central\, Central and Western\, Hong Kong
CATEGORIES:Painting,Sculpture
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2022/01/Jordy-Kerwick_canvas.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211215
DTEND;VALUE=DATE:20220116
DTSTAMP:20260524T213758
CREATED:20211216T005054Z
LAST-MODIFIED:20220112T041447Z
UID:10017819-1639526400-1642291199@cultureplus.asia
SUMMARY:Urban Whispers
DESCRIPTION:Woaw Gallery and Make Room Los Angeles are pleased to announce a two-chapter group exhibition\, Urban Whispers. The first phase of the show will open at Woaw’s Queen’s Road Central location in Hong Kong on 15 December. The second phase will open at Make Room’s Melrose Avenue location on 18 December. \nIn Italo Calvino’s 1972 novel Invisible Cities\, the Venetian explorer Marco Polo meets with Kublai Khan to describe the wonders that he has seen on his travels. As his stories of cities and people unfurl\, it becomes apparent to the reader that Polo’s urban landscapes are fabrications of his imagination\, each one serving as a poem\, parable\, or moral tale rather than a description of a real place. Calvino presents to the reader the city as its own urban legend\, and within the fictional cities such as Zora\, Maurilia\, or Ersilia\, one can find kernels of truth of what it really means to be a city dweller. \nUrban legends are the tools used to make sense of the intense\, absurd reality of city living. In Urban Whispers\, artists from a variety of urban environments explore visual interpretations of urban myth as it applies to their practice. From hyper-urban scenes to delicate\, pastoral fantasies\, the show shines a light on the ways in which we process living in a completely fabricated– and completely human– environment. Collectively\, these stories we tell are also our love letters to cities we inhabit. \nThe first phase features work by a variety of artists working in cities around the world\, including Los Angeles\, Hong Kong\, New York\, Brussels\, Shanghai\, and San Francisco. \nJoeun Kim Aatchim’s works on silk and Weston Uram’s wooden wall works carve out intimacy within the visual collapse of space\, evoking the rush of urban living; The canvases of Bix Archer and Jessica Taylor Bellamy find an intersection between the nostalgia of memory and the pessimism of modern existence; Michelle Blade\, Guimi You\, and Bambou Gili’s paintings interrogate the presence of humanity within a natural environment\, carving out the personal within the urban. Astra Huimeng Wang’s and Mak Ying Tung 2’s sculptural canvases take inspiration from e-commerce websites such as eBay and Taobao\, raising questions of globalism within private space. \nPeng Ke’s photographs of cities coax out the surrealist elements of urban landscapes; Yimiao Liu’s drawings and the paintings of Joshua Petker are grounded in the artists’ interest in the interconnectedness of existence\, highlighting the self-destructive tendencies of humanity in bright\, playful color and references to art history and popular culture; Lior Modan and Jacopo Pagin’s surrealistic works capture objects and pin them into their environments\, playing with ideas of space\, sense\, and thought. And Weston Uram’s wooden wall works play with ideas of identity and gender\, mixing heady themes of identity with charged sculptural materials\, such as silk\, wood\, and found objects. \nIn Invisible Cities\, Marco Polo relays to Kublai Khan the following: “Cities\, like dreams\, are made of desires and fears\, even if the thread of their discourse is secret\, their rules are absurd\, their perspectives deceitful\, and everything conceals something else.” The artists of Urban Whispers take these dreams and allow them to blossom\, creating visual worlds in which the substantive matter of cities and their stories are explored as if anew.
URL:https://cultureplus.asia/event/urban-whispers/
LOCATION:WOAW Gallery Central\, WOAW Gallery\, 9 Queen's Road Central\, Central\, Central and Western\, Hong Kong
CATEGORIES:Painting
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20211029
DTEND;VALUE=DATE:20211125
DTSTAMP:20260524T213758
CREATED:20211018T084559Z
LAST-MODIFIED:20211018T084559Z
UID:10017539-1635465600-1637798399@cultureplus.asia
SUMMARY:TEKNOLUST: OBJECTOPHILIC FUTURES
DESCRIPTION:TEKNOLUST: OBJECTOPHILIC FUTURES envisions a post-singularity utopia/dystopia in which humans interact with intelligences of their own creation on equal footing. The exhibition manifests multiple realms of existence: a fungible\, physical space in Woaw Gallery on Queen’s Road\, Hong Kong; EPOCH’s REPLICANTS\, which digitally recreates the architecture of Woaw’s Queen’s Road location and surrounding neighborhood in a timeline with an alternate roster of artists; and a series of IRL\, WOAW-situated portals that provide networks between tangible\, spiritual\, and virtual universes. \nBefore entering the physical gallery\, Stephen Neidich’s The so-called blush response\, 2021\, is a set of kinetic curtains that serve as a welcome\, or perhaps a warning\, through the gallery windows. They open and close of their own volition\, revealing\, then obscuring\, then revealing again the worlds that inhabit the space beyond. Nik Kosmas’ Collapse 4\, 2021\, is a female\, sculptural human-android form that rises from the gallery floor\, ascending into or being repelled from a metaphysical wormhole of L’s levitating spells. The time-traveling vessels are specifically programmed to block and ward off the birth and existence of the singularity—and to complete the dissolution and reversal of any multiversal trajectories that slipped through the cracks\, along with a restoration of organic consciousness. Further on\, Theodore Boyer has transformed the gallery walls into a starmap\, delineating pathways to a multiverse of new realities: Nicolette Miskhan’s Luna\, 2021\, portrays a mermaid stretching herself into a yantra\, at one with the moon; Hortensia Mi Kafchin depicts the black emptiness of space as masseur\, caressing the mind and body of a willing woman until she merges as one with its cold embrace; Greg Ito’s tondo is a literal window to the grand finale of humanity itself. \nDeeper in the environment\, beyond the starmap\, the corporeal and virtual integrate in a blackened room. Jennifer West’s Cat Clone Copy Hologram 1–3\, 2021\, which jerry-rig 16mm cat films hand-painted with ink and urine to be playable by current and future technologies\, float above the walls on holofans alongside Dr. Woo’s Nothing the God of biomechanics wouldn’t let you into heaven for 1–7\, 2021\, a series of unique\, digitally-rendered masks. Each of Woo’s pieces calls upon various movements in which disguises have maneuvered throughout history functionally\, allegorically\, and ritually\, from Inuit ceremony to contemporary digital faces on Twitter and Reddit. Within the exhibition\, each mask will be auctioned individually as NFTs. The winners will be presented with a choice: cash-in the token for a flesh-and-blood tattoo of the design from Woo within a year of the initial sale\, upon which the token will be destroyed; or allow the work to exist as an avatar on the blockchain in perpetuity. \nBoth West and Woo’s pieces cross the uncanny valley into EPOCH’s REPLICANTS\, which is projected in the blackened room and available universally through the world wide web. REPLICANTS is a virtual prophecy of the Queen’s Road of the future. It is devoid of people\, populated only by machine and artistic energies. West’s Skyscraper Painted Hacker Cats\, 2020–2021\, alight the facade of a deserted building\, a cryptic spin on the cryptokitties of today. Woo’s masks are indelibly marked on frozen and hanging cadavers/replacement body parts inside WOAW’s gallery space\, perhaps as an oracle of what is to come for those who burn their tokens to have their bodies inked. Qianqian Ye + Tiare Ribeaux conjure A.A.G\, 2021\, a massive\, transpacific godexx rising from the ocean\, born from submarine fiber optic cables and a desire for connection. Katja Novitskova’s Approximation (Tyrell Owl)\, 2021\, surveys the desolate scene from behind a storefront window. On the streets of REPLICANTS\, the owl’s status as approximation is irrelevant—it is as authentic as anything else. \nIn TEKNOLUST: OBJECTOPHILIC FUTURES\, there is no segregation between electric and organic sheep. It is a blueprint\, a guide\, and a cautionary tale of existing futures in which we shed our skin suits and upload the collective consciousness to new frontiers.
URL:https://cultureplus.asia/event/teknolust-objectophilic-futures/
LOCATION:WOAW Gallery Central\, WOAW Gallery\, 9 Queen's Road Central\, Central\, Central and Western\, Hong Kong
CATEGORIES:Digital Art,Painting
ATTACH;FMTTYPE=image/jpeg:https://cultureplus.asia/wp-content/uploads/2021/10/EPOCH_Replicants_Woaw-e1634546331750.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210929
DTEND;VALUE=DATE:20211024
DTSTAMP:20260524T213758
CREATED:20210902T001310Z
LAST-MODIFIED:20210902T001310Z
UID:10017349-1632873600-1635033599@cultureplus.asia
SUMMARY:MAXX HEADROOM by Michael Lau
DESCRIPTION:Woaw Gallery is pleased to present MAXX HEADROOM from September 29 to October 23\, 2021 at its Central gallery space. A collaboration with renowned Hong Kong-based artist Michael Lau\, also known as the “Godfather of Designer Toy”\, the solo exhibition will feature a series of original new paintings and sculptures from the artist’s signature Gardener Series\, showcasing an important part of the artist’s career over the last three decades. \nDelving into Maxx\, the hero character of Lau’s original 1999 Gardener series\, MAXX HEADROOM explores the concept of youth\, passion and perseverance. Through a selection of original and new works\, the exhibition reflects the artist’s own journey through the character of Maxx as an epitome of the artist himself\, a strong headed youth who would give all for his passion. From the first Gardener logo\, sketches\, comics\, and album cover made in 1998\, to remnants of its pivotal moments\, as well as the artist’s recent Maxx paintings and sculptures\, audiences are invited to enter the evolving journey of Gardener and the artists’ unwavering psyche. \nStarting in 1998\, The Gardener series began as a comic column at renowned Touch Magazine\, a bible for Hong Kong youth back then who followed popular culture and lifestyle news. With Lau’s passion for vintage G.I. Joe 12-inch action figures\, the artist created his first collection of Gardener figurines with his signature distinctive style. Unlike other commercial action figures\, each Gardener model was handcrafted by the artist\, encouraging toy aficionados to appreciate each figurine’s value as art objects\, and establishing them as “ARTOY”. Inspired by street culture and his community of friends and influencers\, each Gardener figurine represents Lau’s ideology on life and the world around him\, with factual and fictional characters leading their own lifestyle and language in his imaginative utopia. \nAs a pioneer of the vinyl art toy movement\, Lau’s influence has extended beyond the realm of toys into the art world\, and his work brought about a new phenomenon in the global art toy collecting culture since the turn of the 21st century. Lau’s debut exhibition of a series of 99 original 12-inch Gardener figures at the Hong Kong Art Centre in 1999 overturned public conceptions of toy as a mass-produced\, low-cost\, low-quality product\, and instead positioned toys as limited- edition art objects. With the increasing prominence of street culture in the 90s\, Lau was also featured as a changemaker in Forbes’ “20 Trends Sweeping the Globe” (January 2008). \n“MAXX HEADROOM is a deeply personal collection of works and every piece of work is a culmination of art and toy as witness of our past and present.” – Michael Lau \nCelebrating Lau’s vision of “All Art are Toys\, All Toys are Art”\, MAXX HEADROOM breaks the conventions of contemporary art and shares an important part of history that gives birth to Lau as the “Godfather of Designer Toy”. Reveling in the idea of street culture\, and attitudes from the ‘Golden Era’\, MAXX HEADROOM is a passionate self-reflection\, and a journey of maximum effort and fresh aspirations.
URL:https://cultureplus.asia/event/maxx-headroom-by-michael-lau/
LOCATION:WOAW Gallery Central\, WOAW Gallery\, 9 Queen's Road Central\, Central\, Central and Western\, Hong Kong
CATEGORIES:Painting,Sculpture
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