This is another piece I created with refuse from my studio. As it turns out what’s laying around my studio is a fairly good indication of what my preoccupations are. Prior to the COVID-19 pandemic I was closely watching the pro-democracy protests in Hong Kong. There was evidence of this around the studio. Images, notes etc. I am not a Hong Konger, I am simply someone who has always found a certain joy in Hong Kong, mostly because of the sheer unlikelihood of the entire place and it’s ambition. It is a place of contradictions that functions at breakneck speed. Where the past and the future joust in close proximity often with no outcome or victor. It would seem that Hong Kong and what it is; it’s culture, traditions and it’s unique disposition, are on borrowed time. The autonomy promised to Hong Kong in 1997 has quickly eroded and it’s audacity muted. It would seem that it is destined to become South Shenzhen, an extension of the mainland’s greater bay area vision. China may have done what no one thought was possible in the past 40 years, economically and technologically, but it is not Hong Kong. It lacks the magical outcome that happens as a result of coincidence and confluence. Whereas, China is a linear climb towards a specific future, Hong Kong, it seems has wandered, meandered and stumbled upon some fairly unimaginable outcomes. It is still surprising to this day. It is like no other place I’ve ever been.
The text on this piece roughly translates as “When a rat eats a bird the rat doesn’t fly, the bird just dies” My point is that a culture overpowered by another doesn’t result in the conquering force inheriting the virtues and character of that place; those virtues and that character are erased. Lost.
In that, there is something that is worthy of mourning. For me, the loss of some kind of magic that happens quite infrequently in history. Something unpredictable and fascinating, and without it, the world becomes a rather linear prosaic existence.
James Swinson and I made this piece at the end of December 2019. Shortly thereafter, the Pandemic hit and we never posted it. The title refers to the Hong Kong protestor’s 5 demands and “not one less”. Unfortunately, the pandemic put the struggle of Hong Kongers on the back burner internationally. But In December of 2019, that fight was still weighing on me. Hong Kong is like, well… Hong Kong is Hong Kong and it isn’t “like” anything else. In a world where cities increasingly become a homogeneous blur, Hong Kong remains a unique hybrid that stands alone, for good and for bad. It is neither Britain nor China but rather the unlikely result of an unlikely series of events. I can’t say exactly what it is to me; it’s draw, it’s seductive nature, the almost unimaginable quality of it’s existence, but somehow it always makes it’s way back into my consciousness. For my girlfriend Rachel, Hong Kong is some magical place of origin that existed before America perverted that reality. For me and my best friend Moy, it is our happy place (if there is such a thing). I was suppose to move there for a while in 2020. Those plans were obviously interrupted. So it becomes that “what if” scenario that haunts me. What if the pandemic hadn’t come? What if the Chinese security law hadn’t been passed? What if this last bastion of originality simply fades and becomes another engineered product of China, like Shenzhen, like Dongguan? What if? I suppose the world will keep spinning, but be a bit less sweet, with a bit less joy and a lingering sense of loss.
As for the piece… I tried to convey this beautiful cacophony of a city being bound by ropes. Additionally James and I placed a petrol bomb in a cage, as the security law essentially outlaws dissidents. Finally the piece is covered with keys to represent the displacement that will inevitably occur in Hong Kong. The loss of home. Keys are of no use when you are never going home. My faith and hope remains in Hong Kong. I am not a Hong Konger, I am an outsider. One day I hope to be back there and I hope “there” is the same. Hong Kong, in my mind, is too precious to lose, but China is too big to stop and the United States has been resigned to being an impotent participant in these affairs. I am reminded of a quote by Hong Kong Filmmaker Wong Kar Wai. “We love what we can’t have, and we can’t have what we love.”
“Not one less” Mixed media on found door. 31 x 81 inches (79cm x 206cm)