黑料不打烊

White Cube Hong Kong is pleased to present 鈥楴ew Moroism鈥�, a group exhibition which brings together four artists who seek to expand the parameters and ideation of figuration in painting characterised by certain hazy conditions or blurred visions.

Part of an emerging generation of artists whose roots are in Asia, Michael Ho, Chris Huen Sin Kan, Timothy Lai and Su Yu-Xin reflect a new approach and sensibility, responsive to trans-regional shifts and migration. Embracing the concept of ambiguity within their paintings, the artists each explore a new form of Moroism, an aesthetic paradigm which is derived from the 鈥榤艒r艒tai鈥� style (m艒r艒 literally translated as 鈥榲ague鈥� or 鈥榠ndistinct鈥�) that emerged in Japan of the late Meiji era (1868鈥�1912), also found as a pictorial intention originating in traditional Chinese painting theory.

Determined by the artists鈥� shared East Asian heritage, the works in this exhibition are grounded in personal narrative. Chris Huen Sin Kan鈥檚 large-scale oil paintings, a constellation of brush marks, often featuring a recurring cast of characters including his wife, son, daughter and dogs, evolve organically and haphazardly. Painted directly from memory, the artist places life鈥檚 fleeting moments at the core of his work. Huen鈥檚 technique, imbued with the hallmarks of traditional Chinese ink painting, involves layering the paint stroke by stroke until a pattern emerges which echoes the spirit of the scene.

Incorporating a palette of gradated skin tones and elongated, distorted brushstrokes, Timothy Lai examines the uncertainty and tension of his pan-Asian identity and considers the increasingly complex interplay between nationality and race within today鈥檚 global society. Like actors on a stage, Lai positions and contorts his figures within undulating architectural spaces, exploring the intimacy and tension of familial dynamics, interracial love and bi-racial identity.