GROUP EXHIBITION

WONG Weng Cheong, widely recognized for his large-scale digital installations, is represented here by an earlier body of traditional copperplate etchings. These works possess a markedly introspective tone, unfolding like a series of epistolary poems addressed to his younger self. Originally conceived digitally and later translated onto copper plates, the images allow ephemeral electronic forms to acquire the tactile gravity of the etching process. Within these compositions, time and space appear suspended; elongated figures evoke a liminal, dreamlike atmosphere. This series serves both as a projection of the artist’s psychological boundaries and as the conceptual point of departure for the installation he later presented at the Macau Pavilion of the 2024 Venice Biennale.

Similarly rendered in monochrome, Rusty Fox’s photographs turn away from interior psychological spaces and instead attend to overlooked scenes within the urban landscape. Moving through the city like a nocturnal flâneur, Fox centers his compositions on trees, constructing images that recall the uncanny atmosphere of classical Chinese zhiguai tales. Twisted trunks assume anthropomorphic qualities, as if reclaiming the city after nightfall. In his work, the documentary authority of photography subtly shifts. Through deliberate framing and selection, perception is quietly reoriented, allowing multiple layers of reality to unfold: the physical world reshapes the senses, the senses reshape our imagination of familiar spaces, and imagination itself may constitute another form of truth.

While these prints and photographs explore the tensions and distortions of perception on a two-dimensional plane, Heidi LAU condenses memory, myth, and interiority into three-dimensional form.

Working primarily with clay, Lau draws upon the elemental properties of the material to explore the expression of indistinct memories, mythologies, and visual experiences. The deformation of clay and the merging of glazes allow emotional memory to settle into matter, resulting in forms that hover between abstraction and figuration. By infusing a historically laden medium with her own embodied experience, Lau transforms ceramics into a distinctly contemporary visual syntax.

Resonance does not imply similarity; rather, it describes how different frequencies respond to one another. Across their varied media, the works of these three artists reveal collisions between embodied experience and urban memory. Together, they illuminate layers that are often overlooked, concealed, or forgotten, while their quiet murmurs continue to reverberate.

This exhibition is presented by Alisan Fine Arts in collaboration with Lotus International Arts Exchange Association—curated by CHANG Chan and sponsored by the Cultural Development Fund of the Macau S.A.R.