The 2025 Sovereign Asian Art Prize

Angel Hui Hoi Kiu is a contemporary ink painter who creates intricate porcelain sculptures and installations that merge Chinese tradition with contemporary  Western culture. Deeply inspired by traditional Chinese art, she often applies ink on delicate materials, such as facial tissue, rice paper, and porcelain with meticulous brushwork, twisting the ancient art form and transforming the nature
of everyday objects. Should an artist loyal to a particular regional culture, heritage and practices seek recognition by adhering to the standards of cultural hegemony? In this work, ceramic versions of high-fashion designer handbags are hand-painted with Yuan and Qing Dynasty motifs in classic blues and whites, questioning the concept of refined and vulgar art, and further exploring cultural identity and the impact of globalization.

Angel Hui Hoi Kiu is represented by Alisan Fine Arts.

Ngai Wing-Lam, also known as Ant, is celebrated for her surreal and introspective paintings featuring koi fish-headed characters. Her works are inspired by her dreams and childhood experiences with pet fish. These hybrids symbolize her exploration of themes such as relationships, identity, and ambiguity. Set against Hong Kong’s urban landscapes, her paintings capture the tension between reality
and fantasy, inviting viewers to engage with narratives of alienation and individuality. This diptych features a male and female character, highlighting individuality within connection. This duality reflects the belief that while people can share strong bonds, they remain distinct individuals. The paired format explores themes of separation and unity, mirroring the unpredictable nature of human relationships. By presenting these paintings together, Ngai underscores the tension between togetherness and solitude.

Ngai Wing Lam is represented by Gallery EXIT.

Arpita Akhanda is a multidisciplinary artist whose works delve into themes of cultural politics, memory, and history. Growing up, she was deeply influenced by her grandparents’ stories of their traumatic relocation following the partition of India, which shaped her understanding of identity, roots, and the ongoing search for belonging. Memory and migration are recurring motifs in her practice, as she explores the elusive path of remembrance and articulates the sense of loss that the body inherits from past traumas.

Dendritic Data Ib draws inspiration from the ancient iconographies and landscapes of Hampi, India. This artwork layers elements of land, water, and wind, exploring Hampi’s spirit through intricate dendritic patterns found on granite mines, mirroring the natural contours of the region. The piece incorporates representations of the Tungabhadra River, a lifeline to the city, and visualizes the wind’s flow across the land, evoking ancient script-like motifs in the top section of the composition.

Arpita Akhanda is represented by Emami Art, Kolkata, India.

Awika Samukrsaman’s practice focuses on the use of textiles and weaving throughout everyday life, particularly as a means of communication deeply rooted in traditional cultures. Her focus on the use of texture in textile works has brought her into folk wisdom among local ethnic groups, and she runs various projects that aim to develop weaving arts and crafts, and retrace, reinterpret and restore Thai northeastern (Isaan) ancestry and heritage.

Louvers serve as filters that regulate sight, air, and sound, controlling the external influences we allow into our private spaces, balancing the outside world we confront with the privacy we seek. This piece highlights the tension between the fast-paced external world and the slow contemplation of inner space. The handweaving techniques contrast with the precision of laser-cut acrylic, which allows no pause. Louvers become more than mere materials; they bridge individuals to the overlapping layers of social, cultural, and historical interconnectedness.

Be Takerng Pattanopas’s practice emerges from twin obsessions with space within and space without. His drawings, installations, paintings and sculptures explore the human body’s interior, and as such can be symbolized to suggest the infinity of the cosmos. The artist has suffered complex health issues with benign tumours in his endocrine system. This is addressed through hybrid forms that play with
symbolisations of voids, microscopic invasions of the body, tunnels, and monoliths.

Man from Venus speculates on forms that could bring a greater understanding about human bodies. Pattanopas imagines advanced beings that are integrated with spacecraft to travel through the cosmos. The sculpture’s ‘body’ references spaceships, while its excrescences resemble magnified internal micro-organs. These ‘excessive’ elements seem functional as they occupy or even invade space. Man from Venus is mainly orange, reflecting warmth as a rare trait for normative masculinity, and celebration of inversion and diversity.

Be Takerng Pattanopas is represented by Gallery VER.

Cho Hyun Taek’s work records events occurring at the border of cities and nonurban areas, capturing the changing faces of neighborhoods and community spaces to question the spiritual charge of inhabited realms and the medium of photography. He conceives experimental and sensitive portrayals through techniques ranging from camera obscura to panoramic imaging to document the traces of transformation in modern Korean ways of life

Dawn Ng’s practice investigates concepts of time, memory, nostalgia, and temporality. Central to her work is the question: what if we understood time as a colour and form, instead of the numbers on the face of a clock? Ice is a key material in her practice, simply because it cannot last in her tropical climate, making it the ultimate ephemeral medium to work with. Time, residue, and memory are almost immaterial in a modern city like Singapore, that experiences no seasons and constantly yearns for the brand new. Dawn’s work strains in the opposite direction, seeking to give weight and emotionality to time’s presence and passing. To create this work, Ng emulates the primary forces that sculpt planetary landforms over millennia – wind, water, time, gravity, and heat – by applying them to arranged
conglomerates of frozen acrylics, inks and watercolours, across staggered time frames. Encouraging slow looking, Volcanic Blossoms draws upon elemental notions of time that traverse disintegration and creation through change.

Dawn Ng is represented by Sullivan+Strumpf and Kate MacGarry

Dongi Lee takes special interest in popular images that are easily consumed and widely distributed. Believing that art is rooted in popular culture, he uses stereotypes of modern society directly in his work and encourages viewers to interpet them from their own standpoint. He maintains that a work is not something that is defined and concluded by the artist, but gains its grounds for existence by the active response and emotional participation of the viewer. Existing as if he were a part of the work itself, Dongi functions as a catalyst between the work, viewer, and the outer world as they react with each other.

Weeping Woman juxtaposes the abstract and figurative. By combining geometric patterns with a figure similar to that found in a Korean Soap opera, the artist aims to capture a sense of reality and the sublime in one image.

Dongi Lee is represented by NYB Gallery and Sho Plus One.

Through his works, Farhat Ai explores a variety of different materials and techniques. In A World Unfolded, he reinterprets a scene from history through a fusion of images that weave new, fictional narratives for his viewers. This work is inspired by the artist’s mother, who did not attend school but learned to read and write at home by studying the Quran, written in Arabic. Throughout Farhat’s childhood, she taught herself several other local languages, created drawings and embroidery, read to him from magazines, newspapers and novels, and taught him about the work of many important Pakistani and Western artists.

Fu Xiao Tong’s (b. 1976, China) work is characterised by the use of traditional, handmade rice paperto construct intricate, three-dimensional imagery. Using traditional embroidery tools, she punctures the paper, in a labour-intensive, meditative manner, slowly forming images such as mountains, breasts and snake eggs.

97,650 Pinpricks depicts one foot of the ancient Greek god Venus, who was born from a bubble.

Harit Srikhao is a visual artist whose practice focuses on the dilemma of photography, of being both a subject and of being the subject performing the act of capturing – the dichotomy in front and behind the lens. Harit’s work covers on a variety of interconnected themes, from political traditions to aesthetics of power, all struck through with an intense effort to understand his personal experience of being a subject and object, of surrendering the autonomy of one’s image, the struggle in reclaiming it, and giving it a body. For this work, Harit Srikhao crafted over 300 hand-painted paper moths from materials tied to the abuse and harassment he endured as a teenager, which led to struggles with dissociation and depression. Through Art Therapy, Harit reclaims the images that once held power over him, using them as a tool to liberate himself from his past. The light painting and long exposure techniques, recurring motifs in his work, emphasize the power of art as a ritual of resilience.

Harit Srikhao is represented by BANGKOK CITYCITY GALLERY.

Jihea Kim (Tina Kim) explores how people can maintain humanity and embrace one another, despite the challenges of contemporary society. Through her practice, she continually pursues the expansion of the pictorial possibilities and meanings
of photography. Jihea Kim (Tina Kim)’s photographs are characterized by the overlapping of multiple urban images, a process that results in bold linear patterns that merge with the scenery of the city and give her works the appearance of paintings. This work is based on one of her most meaningful photographs, which marked the starting point of a 14-year long photographic series. In a time when society is constantly plagued with issues of suppression, competition, and violence, the colourful lines throughout the image act as energy currents, flowing throughout the environment and representing the ways in which our collective pain can connect us to the past, to the future, and to each other.

Joydeb Roaza grew up in the Chittagong Hill Tracts, a region in the north-eastern corner of Bangladesh that has been historically distinct in terms of cultural and ethnic diversity since ancient times. Over 11 different languages are spoken throughout the indigenous communities living in the area. His work is inspired by events taking place there, from his childhood to the present, including the ongoing struggle of local indigenous people for autonomy over their land and culture. This series of work, titled The Future of Indigenous Peoples, focuses on the lives of the 14 indigenous tribes based in the Chittagong Hill Tracts, and how the movement of over half a million Bengali people into the region has changed their lives drastically.

Joydeb Roaza is represented by Jhaveri Contemporary

Through his practice, Kim Jun Sik (b. 1980, South Korea) enjoys mixing things with ‘opposite’ properties– such as traditional and modern, realism and surrealism, and East and West. His Red Maehwa series of works focuses on the latter, contrasting the characteristic flatness of Oriental painting with the more three-dimensional perspective of traditional Western painting. As modern-day Eastern society gradually takes on more characteristics of West, he considers the search for a ‘new realism’ in Oriental painting.

Inspired by East Asian ink paintings of plum blossoms, Kim Jun Sik renders realistic plum tree branches in oil paint so they appear as if they are attached to Korean paper. He also paints blossoms and iconic characters representative of the 21st century, creating a variety of narratives. In this painting, the characters are depicted taking ‘selfies’, an important social behaviour in today’s society.

Liu Wai Hang Ticko (Ticko Liu)’s work revolves around the ‘meaninglessness’ of the everyday. Sensing the immensity of the universe and the brevity of life, and hence the insignificance and meaninglessness of human existence, Ticko accumulates and organises these futile instances, capturing and transforming them into a mindscape – art as a form of existence. His surrealistic paintings are collages inspired by daily scenes, natural flora and fauna, cinema and moving images, and his collection of toy models. By reimagining and rendering them in bright colours and undulating lines on the canvas, the artist presents a fantasy space of the everyday that is nonetheless believable and relatable.

When looking at the scenery through the window while riding in vehicles, there are moments when the artist feels a distance between himself and everything else. Through visual segmentation in his work, he attempts to place these seemingly trivial pieces of information received in a moment alongside the vast universe on the same canvas, contrasting the immediate with the whole.

Ticko Liu is represented by Gallery EXIT.

The work of Maharani Mancanagara reflects on and reinterprets Indonesia’s complex and sometimes sensitive issues of modern socio-political and cultural history through fictional storytelling. Drawing on her personal family experiences of relocation and aggression in Indonesia prior to independence, Maharani’s work refers to and develops conversation about the condition of social equality, investigating its political and social complexity via the study of form and materiality.

Growing up with both Javanese and Sumatran heritage, Maharani was immersed in Indonesia’s vast cultural landscape, where folklore was a vessel for wisdom and collective memory. Stories like Malin Kundang, told to reinforce ideals of devotion and respect, have been told throughout the region for generations. Through conversations with ninik mamak (traditional elders), Maharani has encountered alternative interpretations of Malin Kundang that challenge rigid moral binaries and reveal deeper anxieties about migration, class mobility, and the burden of leaving home. This series reinterprets these legends as evolving narratives, encouraging reflection on history, identity, and belonging, and urging audiences to embrace multiple truths within cultural memory.

Mervy C. Pueblo’s practice explores the everyday, seeing it as a lens into our social fabric. Her work is not led by styles or trends but focuses on the intersubjective—the indefinable connections between people shaped by love, fear, and courage. Driven by an existential curiosity, she examines how mundane objects reflect the structures and forces that shape us, such as family, society, and government. Ultimately, she believes art is democratic: its value lies in creating dialogue, sharing the real, and fostering connections that may expand our understanding of ourselves and others. This wall-bound sculpture, inspired by the 19th-century Moro shield, reinterprets traditional Filipino artifacts with modern materials. Using cardboard as a base—a nod to balikbayan boxes—it is built from sorted and cleaned packaging materials, symbolizing items commonly sent by Overseas Filipino Workers (OFWs) to their loved ones. This piece honours both the strength of the Moro warriors and the sacrifices of today’s OFWs.

Mervy C. Pueblo is represented by Galleria Duemila.

Miyeon Yi’s work is a nuanced exploration of human emotion and the passage of time, set within the framework of theatricality. In her paintings, she constructs intricate spaces where figures and inanimate objects exist in a delicate interplay, navigating between realms of connection and isolation. Each canvas is divided into layers, like a stage, where figures move in and out of focus, sometimes as central protagonists, other times as silent spectators in waiting. The use of space in her work reflects the tension between the personal and the performative, the internal and the external, capturing the emotional drama of human experience.

Our Dog Doesn’t Bite centers on a little boy, sheltered by the steady, protective presence of an older man, whose heavily painted hands convey warmth and strength. The dog, though harmless, disrupts the narrative by influencing the interactions of the figures on stage. Meanwhile, in the far distance, a lone crane stands in complete solitude, almost as though in a waiting room, untouched by the drama unfolding

As a multi-disciplinary artist specialising in sculpture, Mojahid Musa attempts to bring out the socio-political position of the human and animal body in his works, looking beyond physical appearances through decontextualization from conventional environments. His practice draws on the rich history of clay culture, cave art, Bangladeshi traditional motifs and folk art in a way that actively connects with contemporary issues.

The animal forms depicted in this work play with notions of ‘civilized’ and ‘uncivilized’; they also implicitly critique the position of the domestic animal as an industrial by-product of our time.

Mojahid Musa is represented by Blueprint.12.

Najmun Nahar Keya is a multi-disciplinary artist who is curious about the dichotomy of human behaviour and society. Through her work, she reflects on past experiences and current feelings, presenting the duality of societies through elements of their history, culture, cities, and customs.

Bangla, the artist’s national language, has a rich history. For generations, it has been used in folk literature, passed down orally within illiterate communities. Later it becomes a collective product, which assumes the traditions, emotions, thoughts and values of life within those communities. For this project, Najmun Nahar Keya enlisted the help of her older sisters and other women in her hometown of Tangail to craft characters from the Bangla language using Sari textiles. When suspended, the characters form popular Bangla sayings.

The work of Naveed Sadiq involves an in-depth exploration of Indo-Pak Indigenous materials. For him, the ritual of grinding of earth into pigment is a meditative process that transcends time, neither confined to the past nor the present, but rather an ongoing chant-like practice that leads to clarity and awareness. This triptych forms part of a body of work that explores a dialogue between cultural and religious practices, drawing from the rich visual and textual traditions of Indo-Persian ateliers, focused on the Mughal Fun-e-Musawari manuscripts Badshah Nama, Akbar Nama, and Ain-e-Akbari. An illustration from the Akbarnama, ca. 1605, serves as a reference for this work. The Ibādat Khāna (House of Worship), built in 1575 CE at Fatehpur Sikri, was envisioned by Akbar as a space for interfaith dialogue. Inspired by this, the work explores the idea of oneness.

Naveed Sadiq is represented by Koel Gallery.

Nawin Nuthong is a contemporary artist and curator exploring the connections between history and cultural media through a wide range of mediums. Melding myths and legends with pop-cultural references from video games, comics, and film, he examines the role technology plays in reconfiguring the learning and understanding of history.

Crows Fountain of conceptualizes Thai history in the form of a fountain-shaped data stream. The crows are based on a mythical crow, a fantastical element found in the Thai national history archive, linked to the early Rattanakosin period. The work also references an assemblage of a murder of crows that the artist observed around the fields at Wat Arun during the Bangkok Art Biennale in 2022, which was titled CHAOS : CALM.

Nawin Nuthong is represented by BANGKOK CITYCITY GALLERY

Ngo Dinh Bao Chau is a visual artist who creates paintings, sculptures, and installations. Through the repurposing of familiar and mundane images and
objects, Ngo Dinh Bao Chau gently traverses the dualisms existing within Vietnam’s contemporary socio-political structure to explore the fragility of human life. The series The Landscape Within embraces the Diagram of Internal Pathways, imagining the body as a vessel encompassing the world and cosmos. The inner landscape is both a universe and a natural realm. Diagram of the Repetition focuses this vision on self-reflection, presenting an array of stylized cell patterns. Two separate paintings on the sides will stand still like lock centres, allowing viewers to walk around. The cell patterns merge to form a collective, resembling a bunch of flowers or an abstract landscape, revealing the delicate nature of human life.

Ngo Dinh Bao Chau is represented by Galerie Quynh

Pam Virada’s work explores various manifestations of spatial haunting and the haunted house archetype, especially in relation to non-places and film sets, treading the lines between fiction and reality. Employing a multidisciplinary approach that combines research, practice, and intuition, she uses installations and moving images to reconfigure existing contexts and narratives. By combining ready-mades with sculptures, she creates layered environments that invite viewers to experience a blend of historical and fictional elements.

In this work, Pam Virada reflects on ideas of domesticity, together with imagery from Yasujiro Ozu’s seasonal films. Fascinated by Ozu’s portrayal of domestic drama and the complexities of Confucianist family, Virada delves into histhematic exploration of time. She repurposes a tray, originally meant for serving, transforming its function to reflect light, like the transformation and subversion of the traditional female role within the Confucian family household. The candle, in turn, re-animates the image.

Pam Virada is represented by Nova Contemporary

Praween Piangchompu seeks to communicate poetry through the technique of tearing paper, resembling the symbolic form of a poetic scripture that encapsulates complex memories onto the canvas. His work focuses on presenting physical space in relation to emptiness, while simultaneously conveying a sense of emptiness itself. The subtlety in his use of colour creates a perception of beauty that transcends memory.

By tearing cotton fibre paper into strips and layering these onto canvas, Praween Piangchoompu gives his works a quality reminiscent of recording—a beauty beyond memory. The aesthetics of the past can be difficult to let go and thus can influence our memories. Repeated memories create images in our mind’s eye, and these images change form according to our thoughts. As the artist shares, “thoughts create time of mind, time of mind gives us experiences, and experiences induce remembrance”.

Praween Piangchoompu is represented by La Lanta Fine Art, 333 Gallery Group and M Contemporary Bangkok.

Tan Zi Hao’s works cover a wide range of subjects, from translingual practices and imaginary creatures to posthuman entanglements. Dwelling on issues of ontological insecurity, his works present a deep investigation about what it means ‘to be’, both singularly and plurally, in an age of global and ecological interdependence.

The Bags of Stories series focuses on a moth larva called the household casebearer, which accrues household debris and refashions it into a fusiform case. Small in size, but not in scale, the case presents a cosmos where we are a mere speck of dust. The insect lives with fragments of our dying life, providing a prism for rethinking the human condition at the intersection of mortality, ageing, and ecology.

Tan Zi Hao is represented by A+ Works of Art

Viriya Chotpanyavisut’s work is motivated by the desire to be ‘outside’, in contact with other species, and to engage in dialogue with them through images. Viriya arranges his works in such a way that he questions the relationship between all living beings. His deep attention towards the small things hidden in everyday life and his capacity to capture them through photography are at the heart of his practice. Through this act, he attempts to transform the appearance of obsolete objects by investing them with a certain intimacy and a newfound vitality.

Sudden Brightening is a series of ephemeral environments that show everyday objects as poetic interstices. Viriya films and photographs the natural world in its most diverse contexts: city parks, remote areas and everyday places and situations. For Viriya Chotpanyavisut, these photographs, which combine dreamt and realised images, merge the exterior and interior worlds. These images represent thoughts captured in tangible, material form.

Viriya Chotpanyavisut is represented by Gallery VER and Gilles Drouault, galerie/multiples

Wonchul Lee is a photographer whose works are characterised by combinations of objects or atmospheres with conflicting meanings. Artificial light and natural light, life and death, quantitative time and qualitative time… When these opposite states exist in one frame, it feels unrealistic, and such images create a photographic landscape that only exists in the work.

TIME is a work of trying to talk about time through the clock and drawing the existence of time out of the clock. Through long exposure, the clock hands disappear from the clock, and only the scale exists. Eliminating the time in the clock erases the uniform time (quantitative time) of modern people and emphasizes the personal time (qualitative time) beyond it. The image generated in this way appears unrealistic, becomes an opportunity to rethink the existence of time, and at the same time represents a recording of a moment, due to the nature of the photographic medium.

Sze Wai’s art explores the intricate relationship between memory, imagination, and history, crafting spiritual landscapes that reflect personal and collective experiences. Her fascination with abandoned spaces and forgotten objects is rooted in feelings of loneliness and fear of abandonment, resonating with her exploration of hidden childhood memories. She employs ancient grotto techniques with clay, mineral pigments, and ink to convey depth and the passage of time.

Trio is inspired by the backyards of old village houses in the suburbs of Hong Kong. Greek-style sculptures transport viewers back to the past, while local plant pots, mops, and plastic chairs represent daily life in Hong Kong. Sculptures of children symbolize childhood years. When we were young, we tried hard to protect what we believed in, even if it seemed unimportant to others. Viewers are invited to explore the artwork like a journey, but in the end, it is merely a depiction of unnoticed sculptures in a backyard.

Wong Sze Wai is represented by Contemporary by Angela Li

Yasmin Jahan Nupur is a visual and performance artist whose work is influenced by the ecological and community driven aspects of life. Depicting human relationships from various points of view, her work explores class distinctions, and the social discrepancies people face, particularly women and migrants of South Asia, in an effort to increase understanding between people of different backgrounds.

Light to Dark is inspired by the artist’s fascination with the cycles of the moon and the interaction between light, dark, and gravity in space. When light encounters a gravity well, it is ‘bent’ onto a new path. Time slows down in the presence of gravity, and the effect of time slowing bends the light. In a black hole, the gravity is so great light cannot escape. This can lead to an effect known as gravitational lensing. This work reflects the cosmological beauty and awe inspired by these natural phenomena.

Yasmin Jahan Nupur is represented by Gallery Exhibit 320.

Yinling Hsu’s chosen subject matter is human behavior, emotions, and mental states, and how these things can reflect a person’s existence in society, with every behavior being a vindication of someone’s existence. She transforms and superimposes these different states through her paintings. During her creative process, she explores the nature of humanity, and the close and alienated subtle connection between humans and their social environment.

The Eras in Bottles is a contemplation on how stressful it can feel to constantly remind yourself to relax. When creating this work, Yinling Hsu reflected on different relaxation techniques and found that they all shared the similar approach of using images to connect to the subconscious, bringing out subsequent sensory experiences to release inner stress. Through painting, the artist tries to recreate this process, reflecting on how visual images might evoke senses other than sight.

Yinling Hsu is represented by Project Fulfill Art Space.

Through scratching frescoes and plant installations, Yujung Kim explores the complex dominant relationship between humans and nature, offering a fresh perspective on how individuals in society project themselves onto artificial representations of the natural world. Her work explores the organic relationships between plants and humans, the influence of socialized plants, and the connections between life and civilization, emphasizing perspectives on ecological solidarity and coexistence.

The scratch technique in this fresco work, which applies a layer of black pigment to a wet lime layer formed through mortar, primary lime, and final lime surfaces, involves repeated carving with a knife rather than applying color before the limestone dries. This technique allows the artist to depict psychological landscapes through the act and process of contemplation. In today’s cities, plants placed in “planteria” spaces, designed to foster a nature-friendly environment and provide comfort, are often used as visual decorations. Delicate yet resilient plants growing under artificial lighting are manifested as distinct linear fragments. Transplanted nature, thriving in artificial habitats, heals itself and extends a hand of reconciliation, nurturing a bond with humans.

Zelin Seah is drawn to things in flux, finding in them a beauty marked by impermanence. He enjoys collecting topographic maps and appreciates the organic, abstract shapes of land rendered through orderly measurements and markings. His artistic process involves deliberately deconstructing maps through actions like scouring, tearing, re-splicing, burning, and carving, challenging the resilience of paper, a material derived from nature. This disintegration of the map’s original purpose reflects his ongoing concerns with land ownership and usage. These newly purchased maps of the national park and its surroundings, obtained from the Department of Survey and Mapping Malaysia, appear unchanged since 1993. But have the landscapes truly remained preserved, or have there been hidden changes beneath the surface? Using fine scratches and burn marks along the contour lines, he etches across industrial aluminium panels hidden beneath the maps, suggesting scars beneath the land’s surface. These marks, like traces of lost habitats, are only visible and reflective up close, mirroring how we overlook the ecological damage caused by development.

Zelin Seah is represented by Richard Koh Fine Art.

Zheng Mengqiang is a painter whose creative inspiration stems from personal experiences, travel, music, literature, and philosophy. Evoking cinematographic scenes, his works use blocks of monochromatic colours to blend different elements, creating compositions that transform moments in time into narrative images of personal growth.

These compositions transform moments in time into narrative images of personal growth that are not about what comes next, but rather retrospective of the past. As a result, the nostalgic coastline, pink reefs, inimitable dusks and summer nights, as well as interacting human figures, all become recurring themes in the paintings.

Zheng Mengqiang is represented by HdM GALLERY.