Featured Events in Hong Kong in August 2024 (April Updated)

In a liminal space amid “primitive” experiences and erudite allegories, in which a childlike spirit and the memories therein clash with the adiaphoric character of metropolitan solipsism and the tangential contradictions of contemporary subsistence, innocent and wild scenery thrives affably in the open countryside or along the banks of waterways. Formally composed of a multitude of simple forms and large patches of earthy colours, they generate an authentic, open, and uninhibited fresco. After the gust of a warm summer evening breeze and generous caresses, libidinous bodies and sweet memories embrace each other. Pleasantly protected by a white sheet, they celebrate the immense pleasure of the present moment, symptomatic of an ideal world that pushes the limits of conventional representations. Thus arises “Preciously Profane Possessions,” a new exhibition chapter by the young Santiago Evans Canales. At its center is a search for and celebration of the primal colours typical of the bold and magnificent virgin nature. Here, generous and meandering brushstrokes slowly trace the indefinite images of reclining bodies, enlarged through vivid swathes of colour that slowly manifest in the auroral layers of paint. Through the use of a luxuriant colour palette that generates a golden light, at once warm and vibrant, and endowed with action and movement, all areas of shadow gain a sort of brightness. Sometimes this is a whisper, other times it surges with intensity.

WOAW Gallery is pleased to present Chinese artist Kang Haoxian’s first solo exhibition in Hong Kong, In Montion, which will be held at the gallery’s Wan Chai space from August 31 to October 14, 2024. Kang Haoxian is known for his grand and atmospheric paintings. His past works are known for combining magical realism elements with pop culture, but in In Montion he will change his style and bring a new artistic creation. Art attempts to start from the subtle moments in life and more specific objects, so in this series of artworks, the brushstrokes are transferred to "wheels". People drive vehicles and make tires move. For Kang Haoxian, "wheels" have always been an indispensable part of society since their appearance. And based on the increasingly progressive needs of development, humans began to produce and use tires in large quantities. He noticed that tires are a special tool, but human love makes them more diverse. The craftsmanship and performance are a reflection of the driver's ultimate pursuit, and human emotional involvement is reflected here like a mirror. On the other hand, in this series of works, he emphasizes a unique perception of the friction between tires, the environment and the road, and transforms it into a philosophical and poetic metaphor - tires take people far away, and also take people to an unexpected and farther future. The artist explores the emotions wandering in private spaces through the subtle portrayal of the interaction between people and cars. The woman reflected by the reflection of the car window in "Live Free or Die" (2023), the arm hanging outside the car window in "Brave Action" (2024), and the sharp contrast between the breath-holding car interior and the blood-like red outside the car window in "I enjoy my own tranquility" (2024) all demonstrate the artist's great interest in the emotional depiction in private spaces. For the artist, the world is like a big garage. In addition to "cars", it is also filled with the emotions that humans express all the time. "Wheels" may not be a regular theme in paintings, but they are an important component of vehicles and an indispensable part of people's daily lives. "Motion" emphasizes the permeability of art in our daily lives, trying to capture the complexity of human emotions through the reliable existence of car tires.