John Wong

John Wong, RuChu AR, 2020, 27 min, AR App.
Nominated by K11 Art Foundation.

RuChu, “如初” in Chinese characters, means “as the beginning”. This work is inspired by and based on I-Ching, the book of changes and a classic Chinese philosophical text that Wong (HK) has been studying over 10 years. He noticed an interesting and mesmerizing pattern hidden in the repeated keywords: Pattern visualisation is a core aesthetic in Wong’s work. The artist is interested to explore and trace back to the beginning of Chinese culture’s subconsciousness or ‘DNA’ through looking at the frequency of characters that appear in the full text, forming the pattern of our subconsciousness. The AR work displays the full text (4152 Chinese characters) of I-Ching as the visual base. A cursor runs from top left to bottom right. When the cursor hits any word or phrase that frequently repeats itself in the whole text, the same word or phrase (All) will be translated into English and pronounced in English by the computer. For example, “无咎” will become “NO REGRET”, “吉” will become “GOOD”, “凶” will become “BAD”, etc. The cursor loops the whole text again and again like a hypnosis with the I-Ching’s pattern analysis.


Hui Wai Keung

Hui Wai Kung, Re-Dürer, 2016, generated graphics from video game hacking.
Nominated by Angel Leung and Kyle Chung, Videotage.

Hui (HK) reworks three well-known engravings by Albrecht Dürer through hacking a video game to generate graphics.  He presents the result as a three-channel video installation (or screening). Hui is convinced that the ancient definitions of inspired melancholy from Pseudo-Aristotle are inscribed on Durer’s engravings.

“Our melancholy, as well as our lives, are classified into three types (or stages): imagination, reason, and intellect. I’ve reworked the concepts based on my own interpretation and emotion.” Hui Wai Keung

Having attempted various art forms, Hui Wai Keung is now focusing on digital media, such as game, generative or algorithmic art. Hui is now researching the topics of expanded space and perception, such as the visual study of the fourth dimension. He believes it is time for art to go back to sublime, but a new definition of sublime.


Elaine Wong


Elaine Wong, Tomorrow in a Glass, 2017, digital video.
Nominated by Bess Chan, Hong Kong International Photo Festival.

Wong (HK) received her Master of Fine Art (Creative Media) from the School of Creative Media, City University of Hong Kong in 2019.  She explores and unveils diverse daily encounters through experimentation, for example with a storm glass (now considered a decorative item but historically used to ‘predict’ the weather).  Tomorrow in a Glass generates unique videos from a video database, depending on real-time images captured with a webcam attached to a storm glass, to provide a forecast for the following day in Hong Kong. During the Peer to Peer: UK/ HK Festival, the storm glass will be placed in 4 different locations in Hong Kong, where online viewers can submit videos to be included in the database.

Insta @miss_elainewong
Facebook: /elainewongsukyin


David Lockwood

David Lockwood, The New West: Exploration of the Geological Parallel, 2020, VR photography exhibition at Open Eye Gallery
Nominated by Sarah Fisher, Open Eye Gallery.

The New West is a virtual reality exhibition curated by David Lockwood (UK) with the assistance of his son Hugo.  Echoing the work of pioneering artists and photographers from the 1870s who captured the American West  the exhibition charts their exploration as avatars, Arthur Morgan and John Marston, travelling within the rapidly evolving geographies of the Red Dead Redemption adventure video game. Photographs from the avatars archives and thoughts from their diary have been printed and hung on the Open Eye Gallery walls, filmed by a VR camera and the show posted back online. Here Lockwood plays with layers of mediation, asking us to question our relationship with the documenting of landscape and the human impact on the natural world, by connecting perceptions of the past with our knowledge of the present.  

Lockwood is a photographer based in Liverpool and currently completing his PhD at Liverpool John Moores University.


Choi Sai Ho

Choi Sai Ho, Space Within Space, 2019, media art, video art, sound art. 
Nominated by Geoff Wong, Hong Kong Visual Arts Centre

Without civilisation and light pollution, what would the view of the night sky from planet earth look like? In other multiverses, what does the space sound like?

Sai Ho (HK) reconstructs time and space by images and sound to create another “space” — an imagination of a parallel time and space. Through his work, audiences are invited to consider the enormous and barren universe, and observe the formation and the evolution of nebulas.

The visuals are made from dropping pigments, and the soundtrack is a blend of sounds from a range of sources — percussion instruments, a melody inspired by the planet’s electromagnetic movements, and a field recording from Devil’s Dyke, UK.


Danielle Brathwaite-Shirley

Click to Launch Work.

Danielle Brathwaite-Shirley, I can’t remember a time I didn’t need you, 2020, interactive game. 
Nominated and co-commissioned by Peter Bonnell, QUAD Derby, UK.

We recommend that the game is played on desktop or laptops, rather than mobile phones.

A fog has overtaken a city. Everyone who was in the city has now changed. Word spreads that this fog can support life that isn’t supported on earth. You are going to see if the fog will support your life or if you are the reason the fog has come.

Brathwaite-Shirley (UK) is an artist working predominantly in animation, sound, performance and video games to communicate the experiences of being a Black Trans person. Spurred on by a desire to record the “history of Trans people both living and past” their work can often be seen as a Trans archive where Black Trans people are stored for the future.

Co-commissioned by QUAD, Derby in collaboration with Centre for Chinese Contemporary Art, Open Eye Gallery and University of Salford Art Collection on the occasion of Peer to Peer: UK/HK Online Festival 2020


Lee Kai Chung

Lee Kai Chung, Theatre Exile, 2020, single-channel video
Nominated by Wang Weiwei, CHAT (Centre for Heritage, Art and Textile).

Lee (HK) uses historical events, political systems and ideologies to inform his artistic research. 

 Using archive material and new original imagery, this commission is the fourth part of a pentalogy exploring displacement and diaspora.  Lee took inspiration from his research of Jewish documentary filmmaker Gertrude Wolfson and Japanese film producer Nagamasa Kwakita.  As an artist in exile, Wolfson hoped to film a documentary about her stateless compatriots in Shanghai to raise money for the war relief. 

Commissioned on the occasion of Peer to Peer: UK/HK online Festival 2020 by Centre for Chinese Contemporary Art, Open Eye Gallery and University of Salford Art Collection.


Lai Lon Hin

Still from Lai Lon Hin, Black Dream, 2019, Single channel video. Nominated by Mimi Chun, Blindspot Gallery.

Black Dream (2019) is a video essay that takes the form of a slideshow of discrete still and moving images, shot on an iPhone in Hong Kong. Inspired by lucid dreaming and the tantric practice of dream yoga, Lai composes this sequence of images in an associative logic that defies storytelling or narrative.

Quotidian objects emerge out of the bed of ordinary existence and pierce through the viewer, as people and objects become fungible in the ruthless flattening of mere existence. Shot in 2019, a year of upheaval that left a lasting impact in the social fabric of the city, this dream-like unreason becomes a guiding facsimile in the artist’s understanding of how the world unfolds around him.

Instagram: @lailonhin
Twitter: @LaiLonHin


Hetain Patel

Hetain Patel, Canon, 2020, single channel HD video. Nominated and co-commissioned by Skinder Hundal, New Art Exchange.

Patel (UK) explores the manifestation of three different, but equally impactful influences on his body and identity: Bruce Lee, Spider-Man and an Indian squatting posture. Through animation he investigates what happens when these poses and postures are repeated and overlapped, combining popular and domestic culture from different parts of the world.  The title references both the canon of culturally dominant postures, as well as what it means in dance choreography – a device where one dancer introduces a movement, which is then repeated exactly by subsequent dancers. ‘In this piece the canon actually breaks down as each of the different bodies have a different timing to the movement, I like that it starts to disrupt its own rule somehow.’

Patel is a visual artist and performance maker who explores identity and freedom using humour, choreography and text in many formats to reach as wide an audience as possible.

Co-commissioned by New Art Exchange in collaboration with Centre for Chinese Contemporary Art, Open Eye Gallery and University of Salford Art Collection on the occasion of Peer to Peer: UK/HK Online Festival 2020


Rachel Goodyear

Still from Rachel Goodyear, Tethers, 2020, hand-drawn animation (looped). Originally created as part of ‘Limina’, co-commissioned by York Mediale and York Museums Trust.
Nominated by Lindsay Taylor, University of Salford Art Collection.

Rachel Goodyear’s practice specialises in drawing, predominantly pencil on paper, which often extends off the page in the form of hand-drawn stop-frame animation. She describes each drawing as a ‘fragment’, like a fleeting thought or a half-remembered dream, and her animations as moments of activity that repeat forever, locking her figures into endless, hypnotic cycles. Animal imagery and references to mythology become symbols for the human psyche; Goodyear (UK) presents precarious balances of power, and blurred boundaries between fear and desire, and the conscious and the subconscious.

Note: this work is currently premiering at York Art Gallery, UK as part of York Mediale 2020. October 2020 – January 2021.