Mar 13 2015

Field Trip: Fotanian Open Studios 2015

by Sylvia Tsai

The industrial neighborhood of Fo Tan, in Hong Kong’s New Territories, has been an organically growing creative hub for artists, who were first attracted to the area more than a decade ago due to its cheaper and spacious units considered more suitable as studio spaces than those in the city proper. Fo Tan was one of the first Hong Kong warehouse districts to transform into an arts enclave, which now include Chai Wan on the eastern end of Hong Kong Island, and Wong Chuk Hang in the south, among others.

Since 2001, the Fo Tan arts community has organized an annual public gathering, a behind-the-scenes look into their working spaces, which has evolved into the event Fotanian Open Studios as it is known today. Taking place over two consecutive weekends, the 2015 edition was pushed back from its usual January slot to March, to coincide with the new dates of Art Basel Hong Kong. From its humble beginnings of only a handful of participating artists to a full roster of over 170 artist and 70 studios this year, the open studios event not only includes visits to artist’s spaces, but also to design studios, galleries, local craft bazaars as well as guided tours. Here are some highlights of Fotanian Open Studios 2015, which will be held again on March 14 and 15.

Inside the Wah Luen Industrial Centre, visitors encountered Studio 1023 of Hong Kong artist and Fotanian Artist Village chairman CHOW CHUN FAI, who has kept a studio in Fo Tan since 2003. Here, Chow displays new paintings as part of his signature “Painting on Movie” series, made for a few upcoming exhibitions. Photo by Sylvia Tsai for ArtAsiaPacific.

CHOW CHUN FAI’s paintings of Hong Kong politicians, which cover his work space. Photo by Sylvia Tsai for ArtAsiaPacific.

The quiet oasis of Tone Quarters–Atelier Au Hoi Lam. Photo by Sylvia Tsai for ArtAsiaPacific.

The exhibition space of AU HOI LAM’s studio. On display are: Twilight (2014) and Beyond the Clouds (2014) (left), made from painted floral pattern quilts; and a detail of a mixed-media installation My Parents Bought Me a Blouse from Shanghai on the 4th of May 2001 (2001) (center). Photo by Sylvia Tsai for ArtAsiaPacific.

AU HOI LAM, My Parents Bought Me a Blouse from Shanghai on the 4th of May 2001 (detail), 2001. Photo by Sylvia Tsai for ArtAsiaPacific.

Kinetic work by British artist STEEV SAUNDERS, in his studio, which is named 3×3×3. Photo by Sylvia Tsai for ArtAsiaPacific.

CCStudio of JOSEPHINE CHOW (work on right) and GAYLORD CHAN (work on left). Photo by Sylvia Tsai for ArtAsiaPacific.

Group show of four young artists at –ing Art Space. Photo by Sylvia Tsai for ArtAsiaPacific.

GABRIËLLE FOK blends Asian and western iconography in this horizontal landscape drawing, which is reminiscent of traditional Chinese painting. The modern buildings in the scene are of the retail stores, Zara and H&M, adding another layer of commentary to our current state of consumerism and globalization. Photo by Sylvia Tsai for ArtAsiaPacific.

Sharing the studio with Gabriëlle Fok is Dutch artist SIMONE BOON, who had photographs on display and also a ceramic installation. Photo by Sylvia Tsai for ArtAsiaPacific.

Studio view of Hong Kong artist PING-SHUN CHAN.

Studies and finished paintings by PING-SHUN CHAN, who draws inspiration from European old masters such as France’s Jean-Baptiste-Siméon Chardin and Dutch painter Willem Claeszoon Heda. Photo by Sylvia Tsai for ArtAsiaPacific.

Sculptural interventions dotted the corridors and walls of the Wah Luen Industrial Centre. MAK YEE MAN’s sound installation and sculpture Unnoticed Sound, made from copper tubes, glass and a speaker, is inspired by his childhood memories of listening to sounds that could be heard inside sea shells. Photo by Sylvia Tsai for ArtAsiaPacific.

Knot, a paper sculpture by CHRIS LAU. Photo by Sylvia Tsai for ArtAsiaPacific.

Over in the Wah Lok Industrial Centre, is the studio of Hong Kong artist WILSON SHIEH.

WILSON SHIEH’s painting from his “Architecture” series, in which iconic architectural buildings take up female personas. Photo by Sylvia Tsai for ArtAsiaPacific.

WILSON SHIEH’s political satire flyers covered one wall of his studio. Photo by Sylvia Tsai for ArtAsiaPacific.

Glass sculpture and ink drawing by SUNNY WANG,* inspired by Buddhist concepts of “being” and “becoming,” at YJ Cho Studio. Photo by Sylvia Tsai for ArtAsiaPacific.

Love China Love Hong Kong Thick Toast by Hong Kong conceptual artist PHOEBE MAN at “Why Not” Art Space. Visitors are invited to toast or spread Nutella and jam on bread to cover a set of Chinese characters that are printed on it, which translates into “Love China Love Hong Kong.” As one eats the bread, one could break the printed phrase down by character or by phrase, thinking about what it means to ingest or “destroy” such slogans. The artist provokes the audience to consider those words and what they mean for personal and national identity. Photo by Sylvia Tsai for ArtAsiaPacific.

After eating the bread, PHOEBE MAN invites participants to fill out a survey, asking them about their feelings toward eating the “Love China Love Hong Kong Thick Toast.” People could choose from the options such as: “Hard to eat,” “Cannot stand anymore”; “Able to bear”; and “Eat with relish”’; or to write more personal responses. Photo by Sylvia Tsai for ArtAsiaPacific.

From PHOEBE MAN’s series “Erosion of Home,” which responds to Hong Kong’s housing situation, where real estate prices are considered one of the highest in the world. Many local families are unable to purchase their own apartment. For the series the artist asked various people what they would give up to buy their own place. This particular piece reads: “Someone said, to buy a flat one needs to give up a lot of things, so he gave up the idea of buying a flat.” Photo by Sylvia Tsai for ArtAsiaPacific.

Sylvia Tsai is associate editor for ArtAsiaPacific.