April 2024 Group Show

Contemporary by Angela Li is pleased to present the April 2024 Group Show, showcasing a range of works by 10 artists –Chan King Long, Chan Yuk Keung, Fatina Kong, Leung Po Ying, Agnes, Liang Manqi, Ma Yee Man, Agnes, Mizuki Nishiyama, Ng Chung, Wong Sze Wai, Wu Didi. This exhibition hosts a plethora of works that have undergone the workings of various media, creative processes and techniques, presenting different understandings and portrayals of the creative process of each artist. April 2024 Group Show is on view from April 25 - May ,2024. 

Chan King Long, Ken received an Associate of Visual Arts from Hong Kong Baptist University in 2018, and a Bachelor of Arts (Fine Art) degree from the joint programme by RMIT University and Hong Kong Art School in 2021. Chan’s works respond to themes such as history, social phenomena, living status, global miseries, and personal experiences. Chan exposes and brings forth the different approaches to perceiving these topics and their various states of existence. In his words: “The paintings portray the subconscious, but simultaneously they are just as realistic.”

Chan has participated in multiple group exhibitions in Hong Kong and Guangdong. His works have been shown in institutes such as Hong Kong Arts Centre, 1a Space, JCCAC and Zhongshan Museum of Art. Selected exhibitions include: “Confluences of Voices”, Hong Kong Arts Centre, 2023; “Young Man Rhapsody”, Hong Kong, 2023; “Bon Voyage”, 1a Space, Hong Kong, 2023 “Colours Come with Thoughts”, Hong Kong Arts Centre, 2022; “Anything Anywhere”, Contemporary by Angela Li, Hong Kong, 2022; and “Again. See”, Zhongshan Museum of Art China, 2018. He was the recipient of the Dean’s List Award (2021), Boon Lee Award (2021/22) and 1a Space Award (2021/22).   

Chan Yuk Keung, Kurt first graduated from Chinese University of Hong Kong, Department of Fine Arts in 1983. He then obtained his MFA from Cranbrook Academy of Art, Michigan, USA. 

Chan has participated in more than 100 exhibitions, most prominent ones being ‘the 51st Venice Biennale’, ‘the 2nd Asia Pacific Triennale’, etc. Chan begun his 25 year teaching career at Chinese University of Hong Kong in 1989, while also being a supervisor for M.F.A students. He has also taken the role of chief editor for “Hong Kong Visual Arts Yearbook” since 2000. Chan has since retired in 2016, and currently holds a position in Para Site’s and Hong Kong Institute of Aesthetic Education’s board of directions. He is also an advisor at Asian Art Archive and deputy director of Hong Kong Art School. Chan’s works have been exhibited in Hong Kong, Shenzhen, Germany, Tokyo, Australia and New Zealand. His works have also been included in the collections of HKMOA, Hong Kong Heritage Museum and other private collections.

Fatina Kong’s works incorporate the idea of lives and events in endless cycles. She has been exploring the relationship between nature and human society and has built a unique perspective on the cycle of life. She wrote, “things are always changing and goes around in circles”. Her works therefore usually come in round forms, implying the cycle of birth and death. The buildings, crystals, stones and plants in her artwork are also presented in a way to express their interdependent relationship. 

Fatina Kong graduated from the Academy of Visual Art, Hong Kong Baptist University in 2015. After receiving her art degree, she keeps exploring ways to combine Chinese painting with Western media. In 2018, Kong went to Xining, China to further study painting; and in the same year, she also participated in an artist residency program in Japan, which she found resonance in the Eastern painting more than ever. Inspired by the recordings and images from her daily life, her works give shape to a new landscape that merges memories and fantasy. On top of ink and Chinese pigment as painting media, she adds new layers to her works by using materials such as resin and acrylic board, to create a unique temperament that echoes with the traditional Chinese aesthetic. She has been exhibited in Hong Kong, China and Japan. 

Ma Yee Man, Agnes received her Bachelor’s degree from the Academy of Visual Arts, Hong Kong Baptist University in 2020. She mainly works with experimental painting, and focuses on using daily objects to make paint pigments. Her art practice often records the evolution of artificial objects, which she observes daily, and the relationships between these artificial objects and the nature environment. Her practice also explores the 

dominance of humans over the natural environment.

Mizuki Nishiyama is a London-based, mixed-Japanese artist who creates raw and confrontational artworks spanning paintings, sculptures, tapestries, poetry, and performances that explore the fragile human condition. Nishiyama notably conducts dialogues and critiques the socio-politics of the female experience by incorporating the artist's Japanese paternal soil, which has buried her military ancestors since the 1400s, into her works, where she reevaluates ancestry, patriarchy, and time.

Ng Chung was born in Hainan, China in 1963. He graduated from Bachelor of Arts Degree from the Printmaking Department of the Guangzhou Academy of Fine Arts in1992 and migrated to Hong Kong after graduating. Ng taught as an Associate Professor at the School of Communication and Design at Sun Yat-sen University in 2006 and taught as a Visiting Professor at Guangzhou Academy of Fine Arts in2011. His works have been widely exhibited in Hong Kong, China, Taipei, Japan and Netherlands. His works are collected by China Museum of Art (Beijing, China), Guangzhou Museum of Art (Guangzhou, China), The Hong Kong Heritage Museum (Hong Kong, China) and other private collections. 

Wong Sze Wai was born and raised in Hong Kong. She graduated from The Chinese University of Hong Kong with a Bachelor of Fine Arts in 2013 and Master of Fine Arts in 2020. She went to Shangri-la for further her studies in 2016 and participated in an artist residency in Bulgaria in 2018. Wong’s work focus on the relationship between memory and imagination. Through using various daily objects found locally, such as blue and white tarpaulin, discarded fences, bricks and plastic chairs, are seen scattered around in the painting. They represent the past of human activities as well as the passing of time. Inspired by ancient mural art and Western painting masters, Wong uses mineral pigments, clay and other materials, adding onto the canvases layer by layer. The textures spawned from the dried clay magnify the paintings’ relationships of space and time that lead viewers to explore in a further dimension.

Wu Didi draws the subject matter of her paintings from the simplest elements of nature, such as vines, bamboo, stones, insects and weed. She gives each of her subjects a new life and unique identity. The paintings serve as the artist’s poetic study to examine spirituality in humanity as well as her own meditative process during the long creative process.