Untitled (lemons displaced) Chance
The Gap Between Islands (exhibition)
Expanse | Weite
The Gap Between Islands (video work)
Everyday Gestures
The Things Between Us
The Long Blank / Duga Praznina
The Long Blank
Book for Forgetting II & III
As Is
Norsk Landscape
Dhaka Days
Made in Beijing 北京
Kingdom of Thai/ Jogja Gendlea
Halifax Nights
Invisible Drawings: GREY AREA (Performance)
Invisible Drawings (workshop)

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Salt drawing
Salt, 2018 

Solo Exhibition at SOMA Art Space April 7-18, 2018. Photo documentation by Wu Chuan Lun. With technology, we often experience a paradoxical dissonance with our physical realities and its representation. These reflections of existence are often observed and experienced from a distance. The title of the project, The Gap between Islands can refer to the space between people, between physical surroundings, their representations and their perception. The show features some work produced during a recent visit with her father to his hometown,Hong Kong, after 30-years of absence as well as work she produced in Aveiro, Portugal. Portugal was the first country to contact Asia, colonizing Macau and Hong Kong over several hundred years, returning it to China in 1999. Macau was the last European territory in Asia. While on residency Cheung encountered materials such as lemons, salt and patterned ceramic tile, which are integral to the identity of Aveiro, Portugal but also can be seen to have a relationship to Asia. Aveiro has salt salines (a process of salt distillation where sea water is distilled into salt), and has a specific type of light due to its proximity to the sea and salt in the air. One day while in Aviero on residency, Cheung passed a bag of lemons that were mysteriously dropped on the ground. The exact origin of the lemon is unknown, but possibly first originated in Assam (northeast India), northern Burma or China. Inspired by this, she created a public intervention on the streets in relation to the patterned cobblestones commonly found in Portugal. Combining high and low art using minimal means, Cheung’s interest is part in how the public space in various places can be activated in everyday life in a non-institutionally based art context. Using an intuitive phenomenological approach, the work combines opposing elements such as playful happenstance with work distilled through an interior dialogue. Some works focus on emptiness, and a subtle tactility that can mirror the internal narratives of the viewer. Through the inexplicability of the images and objects, one is provided a space to grapple with questions of attachment and abandonment, fluctuation and constancy, separation and rebirth, where new identities may be formed.