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Best known for her seductive candy-colored history paintings, Rosson Crow presents a new body of lush interior and landscape works for Smoke and Mirrors at Over the Influence, Hong Kong. The exhibition is marked by sickly-sweet acid-toned washes over layered photo transfers, oil paint, and spray paint with images bleeding in and out of one another like a melted amassment of mementos. Crow’s palette of corrosive colors twists her compositions toward abstraction, heightening their hallucinatory perspectives. The commanding presence of her works is emphasized by not only the physical scale but also the theatricality of the compositions. Both draw the viewer into the frame as if becoming part of the scene, but the closer the viewer comes the more the illusion is disrupted by the painterly presence of Crow’s surfaces – the drips and splashes which jolt the viewer back into the gallery.

Smoke and Mirrors is an extension of previous bodies of work by Crow rooted in histories latent with nostalgia and anxiety. The hostile, distressed, and unequivocally apocalyptic mood she summons in her new paintings suggests that the anxieties of history have only been exacerbated today. This year of the pandemic, economic collapse, political strife, and environmental disaster are equally glossed over and accentuated in Crow’s psychological scenes – luxury juxtaposed with austerity, emptiness with excess. In Fire Begets Fire, a pristine garden lagoon is trashed and burned, a roman bust floating in the polluted water as acid-colored smoke plumes into the sky. Adjacent, an empty desert-scape surrounds a red pool, the clouds of a coming storm forming in the background. In one of Crow’s signature interior compositions titled Clairvoyance, a deserted high-end restaurant garnished with an opulent chandelier looms from a privileged post over a firework/lightening/inferno-engulfed cityscape. The question of whether the city is amid celebration or destruction is enhanced by Crow’s layering of colors and glitched photographic images which serve to both obscure and embellish reality. The emptiness of each scene cultivates an equal sense of tranquility and disaster,an element of exuberance with a dark undercurrent. Crow is interested in the dark psychologies that drive us as people. This darkness is present throughout even the most ebullient works such as the explosive still-lives which expose the gluttony of consumer society and the seduction of overabundance.

or Royal Jarmon’s first exhibition with Over the Influence, the Brooklyn-based painter presents a series of seemingly flattened, birds-eye view of cars. Abstracting perspective and movement, he reconfigures the vehicles appearance, taking on a curious position, as if a child dissecting the objects around them.

Reminiscing on his rural upbringing, where watching NASCAR was a staple form of entertainment, Jarmon rediscovers the action of the bright, logo-filled car collisions as metaphors for turbulent times in his life. The car crashes are humorous, but dark, conveying the beauty that can accompany life’s difficulties.

More recently his interest in this subject segued into other automobiles pulled from specific memories – the taxis that drained his wallet, being new in NYC and missing the train; the wood-grained caravan he traveled the country in after wrecking his own first car. He unfolds each artwork as if creating a texture map of the vehicle, a full 3-D covering for each memory.

Soluna Fine Art is pleased to present Obangsaek: Vermilion, an in-depth exploration of the connections between the colour vermilion and the Korean culture. The gallery will exhibit five artists from Korea: Jeong Myoung Jo, Park Jisook, Uzine Park, Park Yoon-Kyung, and Song Kwangik. Vary in age, background and medium, the artists apply the colour vermilion into their works with different intentions and motives. Obangsaek: Vermilion starts from 21 August to 19 September.

This exhibition is part of the Obangsaek Series, a series of five exhibitions aim to explore and analyze art works constructed with the Five-Orientation-Colour, the traditional Korean colour spectrum (the Five-Orientation-Colour), often seen in folk arts and traditional textile patterns, and represents the Yin- Yang and Five Elements theories. It is also a continuation of this year’s first program Obangsaek: Indigo. The colour indigo or blue is associated with the element of wood and the direction east. In the Korean flag, this colour symbolizes “Yin”, the feminine energy. Indigo/blue is balanced by red in the Korean flag. While indigo/ blue represents its opposite, silence and calming energy, vermilion/ red represents the passionate energy of life. According to Korean tradition, the colour red associates with the south, fire, and “Yang”. With its powerful yang energy, vermillion is believed to ward off evil spirits and dictate the lives of living things. Throughout this collection, the works of art embody the essence of the colour vermillion: creation, passion, and love.

L+/ Lucie Chang Fine Arts is proud to announce the first show in our new art space – “Street This Way” Special Exhibition 2020. The group show features recent works from 5 of our artists interpreting street/ pop art in their own way that constitute the flourishing urban art scene these days.

JPS Art Gallery is proud to celebrate the opening of the new space in LANDMARK with an inaugural exhibition, Here and Now, alongside with the grand opening of JPS Art Store. The exhibition marked an extremely exciting development for JPS and without a doubt, a significant milestone in our standing in the art world. The opening exhibition titled Here and Now is a statement showing the general public the mission and gallery. The exhibition title also echoes the mission of JPS: to foster a creative environment for a new generation of artists and collectors, presenting works of the here and now.

Opening on 11 September, Here and Now is an exhibition that encapsulates the style and characteristics of JPS and its artists. The exhibition opens with The Starry Night, 2020, by Spanish artist Okokume (Laura Mas). The work features Okokume’s signature character 2 Cosmic Girl. The pink-haired and turquoise skin spirit is created to raise the viewer’s awareness and loving care towards our living home, earth, which is a theme that echoes in The Starry Night. The work is also a homage to Vincent van Gogh’s famous painting of the same name.

Two Hong Kong artists Chino Lam and Afa Annfa are respectively presenting works that explore the duality of fine art and popular culture. Lam’s work, Looking For Live Out There, 2020, is a continuation of his previous work where he explores the evolution of human civilisation. This work is driven by his latest fascination towards the outer space and conspiracy theories, exemplifying his profound belief in the connection between human and other non-human beings. Afa Annfa’s work, I Love Candies, 2020, brings the audience back on earth and shift our attention back to something that is much closer to our day to day lives— — our obsession with gaining information. We live in a digital age where latest news, videos and trends constantly bombard us. Many of us are lured by the infinite abundance ‘knowledge’ that automatically get delivered our electronic devices, just like how children see candies.

Much like the works of its artists, JPS is a gallery where they pay respect learn from the foregoer of art history, but at the same time develop a voice of their own, a voice of this era.

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For the past two years, I have been trying to have a dialogue with my walls and shadows. I needed to express my deepest and most personal feelings. Through immersing myself and taking refuge in my work, I was able to fight and overcome what I feared the most.

The exhibition presents a series of works that are found from the deepest and most intimate feelings that I only dare to open up with art. This is a visual documentary of my journey in dreams where walls do not exist, and everything flows freely. I became the pink-haired explorer in the Cosmic World, finding myself, fighting my demons, and becoming a better me.

The paintings show my inner self – the INSIDE of my mind and soul, my whole being. Even though I am not here in person, I will be present more than ever in every one of these works.

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Miranda Smith’s first solo exhibition ‘Lucent Nebulous’ is a celebration of our innate relationship with light and colour. This exhibition takes inspiration from the way your eyes and brain constantly adjust to changing light conditions and mediate visual information. During the day, viewers are invited to experience a series of prints that capture a nebulous of colour created by light and preserved in ink.