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Peter Hong-Tsun Chan 陳康俊

@peterchanart

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Sept 9: Solo - New York 🇺🇸 @longstoryshort.nyc
May 22: Palazzo Valier, Venice 🇮🇹 @fondazione_maddalenadigiacomo
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Excited to be part of ‘𝚃𝚎𝚊𝚌𝚑 𝙼𝚎 𝙷𝚘𝚠 𝚝𝚘 𝙵𝚒𝚜𝚑’, a group show curated by @willnyc opening tomorrow in Hong Kong at @artintelligenceglobal . I will be showing two new paintings. Special thank you and grateful to @willnyc @ksjheather @michelejchan @joyliuss @yuki_terase and @acappellazzo all who made this show possible. ⁣⁣ All-in on Brunch Acrylic and oil on canvas 60’’ x 48’’ / 152 x 122cm 2024 This piece was quite a challenging work to make due to the sophisticated nature of the Dutch still-life as early compositional inspiration. The painting itself was created by starting the painting in Canada and finishing the painting in Hong Kong. The painting reflects the hybridity of east and west, reflected in the mix of items within different parts of this work - the movie posters, the high tea display of dim sum, and popularity (and the duality of potential) in the game of poker, and the origins of the word ‘brunch’. Together, this forms a type of truth in the history of culture, in particular to Hong Kong and it’s origins. Items in the painting brings on associations, similarities, and differences to both the east and the west. Art Intelligence Global Suite A, 1st Floor TS Tower ⁣⁣ 43 Heung Yip Road ⁣⁣ Wong Chuk Hang, Hong Kong⁣ ⁣ Show opens July 4th and will be on view until August 30th. ⁣ Elizabeth Atterbury @e_atterbury Peter Hong-Tsun Chan @peterchanart Hyegyeong Choi @hyegyeong_g_choi Dominique Fung @dominiquefung Kyoko Hamaguchi @kyoko.hmg Sally J. Han @sallyj.han Olivia Jia @oliviacjia Cindy Ji Hye Kim @kimchihey Ji Woo Kim @jiweowmeow Mike Lee @immikelee Zoé Blue M. @zbluem Stephanie H. Shih @stephaniehshih Miko Veldkamp @mikoveldkamp Lily Wong @grilledcheesey Miyeon Yi @angpangrhee Yesiyu Zhao @yesiyuzhao Gongmo Zhou @gongmozhou taken in Hong Kong by @peterchanart
138
2 years ago
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Installation view of: All-in on Brunch 60’’ x 48’’ Acrylic and oil on canvas The Feast of Hoo Hey How (Fish Shrimp Crab) 60’’ x 48’’ Acrylic and oil on canvas Final days to see ‘𝚃𝚎𝚊𝚌𝚑 𝙼𝚎 𝙷𝚘𝚠 𝚝𝚘 𝙵𝚒𝚜𝚑' organised by @willnyc at @artintelligenceglobal Hong Kong. Thank you everyone who already visited the show this summer, show closes this Friday, August 30th. Art Intelligence Global Suite A, 1st Floor TS Tower ⁣⁣ 43 Heung Yip Road ⁣⁣ Wong Chuk Hang, Hong Kong⁣ 11am - 6pm taken in Hong Kong by @peterchanart
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2 years ago
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The Feast of Hoo Hey How (Fish Prawn Crab) 60’’ x 48’’ / 152 x 122cm Acrylic and Oil on Canvas 2024 ‘𝚃𝚎𝚊𝚌𝚑 𝙼𝚎 𝙷𝚘𝚠 𝚝𝚘 𝙵𝚒𝚜𝚑', presented by @willnyc and @artintelligenceglobal continues in Hong Kong until August 30, 2024 Text via @artintelligenceglobal : For generations, the nexus between food and identity within the Asian diaspora was a relationship cultivated through sustained exigency. Culinary rituals, carefully repeated, preserved and passed on, were vital for sustenance and survival, continuity and community-critical lifelines tethering immigrants to the past, to the ancestral homelands they left behind, while affirming identity, belonging, and security in the present. How is this nexus shifting for newer generations navigating their diasporic identities against hyper-globalization, neo-colonialism, and the hybridization, commodification, and cannibalization of cultural practices? As disparate cultures continue to coalesce, intermingle, evolve, or even dissipate, how are we to understand notions of authenticity, tradition, and heritage? Slide 10: Show image by @zbluem by @peterchanart
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2 years ago
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Peter Chan Youth on a String, 2026 Oil on linen 10 x 7 in (diptych, 2 Panels at 5’’x 7’’ each) 25.4 x 17.8 cm After-Images Of A Golden Hour is currently on view at our 52 Henry Street Gallery. Open Wednesday to Sunday, 12-6pm. This diptych explores the precarious, tethered existence of a generation caught on the precipice of history. Referencing Fruit Chan’s gritty, independent masterpiece Made in Hong Kong, the work splits its focus between two distinct realms of confinement and escape. On one panel, a young girl stands behind the rigid, geometric grid of a domestic iron flat gate—a ubiquitous visual anchor of Hong Kong’s public housing estates that doubles as a psychological cage. On the adjacent panel, a solitary kite drifts in the open air, a fleeting symbol of freedom, youth, and ascending dreams. By bridging these two images under the title Youth on a String, the painting visualizes the unseen, fragile leash governing the lives of the film’s protagonists. The string connects the heavy iron of the domestic gate to the weightless flight of the kite, capturing the fatalism, alienation, and brilliant but brief vitality of a youth culture operating on borrowed time. taken in Long Story Short NYC by @peterchanart
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4 days ago
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Peter Chan The Fifty Year Wait, 2026 Oil on linen 10 x 7 in (diptych, 2 Panels at 5’’x 7’’ each) 25.4 x 17.8 cm This diptych serves as a haunting exploration of fidelity, haunting memories, and the cruel asymmetry of time. Titled The Fifty Year Wait, the work directly references Stanley Kwan’s tragic masterpiece Rouge, which follows the ghost of a 1930s courtesan who returns to a rapidly modernizing Hong Kong fifty years after a failed double-suicide pact to find her lost lover. By splitting the two doomed lovers into isolated, mirroring panels, the composition transforms a cinematic ghost story into a minimalist study of eternal separation. The architecture of the diptych locks both figures into separate, unreachable realities through contrasting planes of colored light. The first panel presents a close-up portrait of the female protagonist engulfed in deep shadow. Behind her, a pane of vibrant pink neon light glows like a modern glass window, casting a contemporary, synthetic shroud over her historical grief as she looks down and away with closed eyes. The second panel mirrors this precise framing, focusing entirely on the face of her lover (played by Leslie Cheung), who is similarly cast in heavy shadow against a pane of golden-yellow light. By trapping these figures behind flat, luminous blocks of color, the painting strips away the shifting textures of the changing city, leaving only the raw, monochromatic architecture of a half-century of longing. It visualizes the tragedy of a love frozen in time—forever casting shadows against a world that has moved on without them. After-Images of a Golden Hour is currently on view at 52 Henry Street. Open Wednesday to Sunday, 12-6pm. taken in Long Story Short NYC by @peterchanart
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20 days ago
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Peter Chan A Better Today, 2026 Oil on linen 10 x 7 in (diptych, 2 Panels at 5’’x 7’’ each) 25.4 x 17.8 cm After-Images of a Golden Hour is currently on view at our 52 Henry Street gallery. Open Wednesday to Sunday, 12-6pm. A Better Today deconstructs the hyper-stylized vocabulary of the “Heroic Bloodshed” genre that came to define the commercial peak of the Hong Kong New Wave. Moving away from traditional martial arts, directors like John Woo reengineered action cinema around contemporary urban anxiety, explosive gunplay, and a restless, fatalistic code. This diptych captures that kinetic energy through two volatile acts of ignition: the iconic, cool nonchalance of a character lighting a cigarette with a burning American hundred-dollar bill, paired alongside a catastrophic, blinding explosion. While the original 1986 film looked toward a mythic, redemptive “tomorrow,” this painting pivots the narrative into the immediate present tense. In the late-colonial era of pre-1997 Hong Kong, the future felt stolen, leaving characters to live entirely in a frantic, high-stakes “now.” By pairing the disposable consumerism of burning currency with raw, cinematic destruction, A Better Today critiques a generation burning bright in the immediate moment, trading the hope of a peaceful future for a split-second of explosive, beautiful ruin. taken in Long Story Short NYC by @peterchanart
9
25 days ago
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Peter Chan Bruised Blue , 2026 Oil on linen 10 x 7 in (diptych, 2 Panels at 5’’x 7’’ each) 25.4 x 17.8 cm After-Images of a Golden Hour is currently on view at our 52 Henry Street gallery. Open Wednesday to Sunday, 12-6pm. This small, intimate diptych operates at a microscopic scale of emotion, exploring the thin, violent line between underworld loyalty and romantic salvation. Referencing Wong Kar-wai’s electric debut As Tears Go By, the work drops the viewer directly into the hyper-stylized "Heroic Bloodshed" genre, but filters it through an intensely private lens. The entire work is submerged in a saturated, dreamlike palette of deep blues and vibrant magentas—a color landscape that trades realistic lighting for pure psychological atmosphere. The composition forces an extreme physical proximity. The first panel isolates a super close-up of a man’s eye and ear, a steady trickle of blood running from his forehead to emphasize the stoic strength and heavy toll of his criminal brotherhood. The bottom panel mirrors this tight framing, capturing only the abstract, passionate geometry of a kiss where faces dissolve, leaving only the visceral meeting of lips. By drowning both panels in the same cool blue climate, the diptych unifies these two opposing forces—the violence of the streets and the sanctuary of love—revealing them as two sides of the same desperate pulse. #PeterChan @peterchanart taken in Long Story Short NYC by @peterchanart
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a month ago
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Peter Chan Fluorescent Longing, 2026 Oil on linen 10 x 7 in (diptych, 2 Panels at 5’’x 7’’ each) 25.4 x 17.8 cm After-Images of a Golden Hour is currently on view at 52 Henry Street. Open Wednesday to Sunday, 12-6pm. This diptych acts as a study of the chemical, synthetic melancholy that defines the atmospheric texture of the Hong Kong New Wave. Bathed entirely in a heavy, saturated green palette, the work pays direct homage to the distinctive visual language crafted by director Wong Kar-wai and cinematographer Christopher Doyle. In this cinematic era, green is stripped of its traditional associations with nature and rebirth; instead, it becomes the color of urban alienation, transient longings, and late-night insomnia. The work splits its narrative across two radically different scales of isolation. The first panel looks down the barrel of an iconic underground Hong Kong traffic tunnel, capturing a distant motorcycle accelerating through the gloom. The second panel pushes into an intimate, claustrophobic close-up of a girl submerged in the same green fluorescence. By unifying the distant highway and the hyper-proximate portrait through a singular, monochromatic green climate, the diptych visualizes the deep, collective psychological space of 1990s Hong Kong: a city suspended in motion, where total strangers share the exact same radio wave of beautiful, inescapable loneliness. @peterchanart #PeterChan taken in Long Story Short NYC by @peterchanart
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a month ago
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‘After-Images of a Golden Hour’ opens tonight, Wednesday Sept 9th, 6-8pm at @longstoryshort.nyc Hope to see you there! ___________________ Commercial Solitude Oil on linen 10 x 7 in (diptych, 2 Panels at 5’’x 7’’ each) 25.4 x 17.8 cm This diptych examines how the forces of global consumerism and hyper-urbanization distort the geography of human heartbreak. Drawing from the first segment of Wong Kar-wai’s Chungking Express, the painting captures the quiet, eccentric desperation of Cop 223 as he navigates the expiration of his relationship. The artist deliberately elevates mass-produced, everyday items into monuments of emotional grief. The first panel isolates two stacked cans of pineapple—a literal countdown toward an arbitrary expiration date that the protagonist uses to measure his partner’s fading love. The second panel shifts to a wider, overwhelming urban landscape, depicting the back of the solitary man walking toward the towering, blinding neon glare of a McDonald’s restaurant. By allowing the corporate golden arches to physically overpower and dwarf the human figure, the composition visualizes the profound insignificance of individual loneliness within a restless metropolis. United across both panels, the work captures the essence of the late-colonial Hong Kong New Wave: a world where intimacy is fleeting, memories are processed through barcodes, and love itself is given a shelf life. taken in New York City by @peterchanart
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a month ago
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Excited to open ‘After-Images of a Golden Hour’ this Wednesday Sept 9th, 6-8pm at @longstoryshort.nyc It’s been a busy summer and especially wrapping up all the works in Brooklyn this past month. Many thanks to @dominiquefung for hosting me in her beautiful space for my final run towards the finish line along with @guccithedoge . Can’t wait to start sharing the new works I’ve been creating, starting with this one. The Shelf-Life of Love Oil on canvas 48’’ x 36’’ (121.9 x 91.4cm) 2026 ___________________________ The Shelf-Life of Love synthesizes the classical traditions of European Dutch still life painting with the frantic, disposable consumer landscapes of 1990s Hong Kong. Traditionally, the vanitas genre utilized dense arrangements of worldly goods, exotic fruits, and expiring elements to serve as a symbolic reminder of the transience of life and the inevitability of decay. The artist reinterprets this historical framework by constructing a dense, chaotic banquet composed entirely of working-class Hong Kong staples and cinematic artifacts, capturing a culture processing its emotional grief through mass-produced commodities. The canvas overflows with localized textures: a bowl of lychee, a singular tangerine, scattered mahjong tiles, a drooping plant, and recognizable pantry icons including a bag of spicy Calbee potato chips, a tin of fried dace with salted black beans, a box of Vitasoy, and a lone hot dog resting on a ceramic plate—a nod to the Midnight Express diner from Wong Kar-wai’s Chungking Express. Looming in the background, a single postcard from "California" depicting twin palm trees gestures toward an idealized, faraway escape. #peterhongtsunchan #theshelflifeoflove taken in New York City by @peterchanart
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a month ago
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Long Story Short NYC is pleased to present After-Images of a Golden Hour, a solo exhibition of new paintings by Toronto-based artist Peter Hong-Tsun Chan. Join us for the opening reception, Wednesday September 9th, from 6-8pm. 52 Henry Street New York, NY 10002. The exhibition brings together thirteen works in oil on canvas, linen, and paper that draw from Hong Kong cinema of the 1980s and 1990s, before the territory’s 1997 handover from British to Chinese rule. taken in Long Story Short NYC by @peterchanart
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a month ago
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The Empress of Incongruity 24’’ x 30’’ (61 x 76cm) Oil on canvas 2026 ———————————- A much overdue post from art week Hong Kong in March. Work exhibited at @its.a.pavilion with @riverartgallery_tw “The Empress of Incongruity” is a provocative dialogue between the somber moralism of the 17th-century Dutch Golden Age and the defiant, kitsch-glamour of 19th-century Hong Kong cinema. By placing a vintage television at the heart of a traditional Vanitas, surrounded by the symbolism of the pomegranate and the hourglass. The central figure, immortalized in a moment of cinematic absurdity, reclaims the lobster not as a culinary object of wealth, but as a subversion of fashion itself. In this space, the traditional symbols of female domesticity and education are upended; the book and the hourglass no longer merely signal the flight of youth, but serve as a foundation for a woman who chooses to wear what she wants, when she wants. This painting is a celebration of the “sophisticated incongruity” of middle age—a stage of life where knowledge and power allow one to finally rule over their own aesthetic world with wit and absolute autonomy. taken in Hong Kong by @peterchanart
23
5 months ago
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