Capsule Filling : Pop-up at Hilltop Plaza, Hong Kong - Curated by Zoie Yung

22 March - 13 April 2025
  • Elizabeth Jaeger’s 'Birds' (2024) hang in different ways throughout the space, further enhancing the individuality and presence of each piece....
    Elizabeth Jaeger 伊丽莎白·耶格
    Bird 鸟, 2023
    ceramic, bronze 陶瓷，青铜
    16 x 8 x 7 cm
    6 1/2 x 3 x 3 in
    Elizabeth Jaeger’s "Birds" (2024) hang in different ways throughout the space, further enhancing the individuality and presence of each piece. The work explores the intersection of the human and animal worlds. In this new iteration of the work, the birds—sculpted in ceramic and bronze—are placed strategically throughout the exhibition space of Capsule at Hilltop Plaza in Hong Kong, where they act as silent sentinels, overseeing the proceedings. Positioned above eye level, the birds resemble cameras, their watchful gaze creating a sense of both presence and surveillance.
     
    Just as the beetles are scattered throughout the gallery, these birds act as intermediaries, leading visitors through the space and drawing attention to the connection between the artworks. By occupying these overhead, unexpected positions, the birds subtly influence the viewer’s experience, encouraging them to reflect on the dynamic between the human, the animal, and the mechanized world around them. 
    ENQUIRE
  • Feng Chen's site-specific installation Chronophobic Light (2025) extends on his on-going series “The Darker Side of Light“, testifying to the...
    Feng Chen 冯晨
    Chronophobic Light 双重现实, 2025
    camera, LED light bulbs, light stands, programming RGB controller, HDMI switcher 摄像机，LED灯泡，灯架，RGB程序控制器，HDMI导播台
    dimension variable 尺寸可变
    Feng Chen's site-specific installation Chronophobic Light (2025) extends on his on-going series “The Darker Side of Light“, testifying to the artist's acute observation of the gap between perception and reality. Using technology to surgically remove the “presentness” of light and shadow, Feng Chen investigates how documentary mediums can demolish and reconstruct reality. When the camera fails to capture the dynamic luminance visible to the naked eye, this "dual reality" raises questions about the authenticity of sensory experience, and points out the rupture between experience and truth in the digital age. The viewer’s body becomes the medium that connects the two dimensions. Alternating between active observation and passive reception, the viewer re-examines how technology shapes and constrains human perception.
     
    Feng Chen creates videos, sculptures and hypnotic installations that investigate the synchronization between visuals and audio, inserting a wedge between different signals and leading us to question which of our senses we should ultimately trust. In his work, perception and reality interact with each other in labyrinthine ways reclaiming that experience is the most essential and authentic part of existence and the ultimate nature of reality. 
    ENQUIRE
  • (Larger version of this image opens in a popup).
    (Larger version of this image opens in a popup).
    (Larger version of this image opens in a popup).
  • Chiang's series of wall works (all titled WITHOUT BREAK ALL POWER) combine salvaged steel and conduit with cast aluminum poppy...
    Peggy Chiang 江佩
    WITHOUT BREAK WITH ALL POWER 全速前进, 2024
    steel, cast aluminum, spoons, hardware, magnets 钢，铸铝，汤勺，五金配件，磁铁
    48.3 x 20.3 x 16.5 cm
    19 x 8 x 6 1/2 in
    Chiang's series of wall works (all titled WITHOUT BREAK ALL POWER) combine salvaged steel and conduit with cast aluminum poppy pods, and convex and concave spoons. Corresponding to street-signs, security mirrors and signage, these works pivot, reflecting an inverted world in the convex faces of spoons. The works infer both the persistent anxiety of drug culture in the American suburb of Chiang’s youth, and the enduring stigma and stereotypes in Sino-American culture around opioid use.
     
    In Chiang's words, "The assemblages of salvaged steel and conduit are inspired by street signs, security mirrors and transience. Parts are attached to a pivoting axis with magnets, allowing reposition. Cut and bent spoons, shown in reverse, reproduce the simple optical trick of reflecting a convex and inverted world in tandem. A single poppy pod, cast in aluminum, extends from each frame.

    Opium is heavily stigmatized in my parent's culture and yet they remain unaware of the pervasiveness in the American suburb they settled in. The combination of objects and materials subliminally suggest, or perhaps seduce by, lurking dangers and deep-seated anxiety."
    ENQUIRE
  • Peggy Chiang’s work often begins with a legible yet ordinary subject, an object that could be commonplace or even peripheral....
    Peggy Chiang 江佩
    Forming 形成, 2024
    aluminum foil pan and plastic lid, UV resin, enamel paint, plywood, stained tablecloth 铝箔餐盒，塑料盒盖，紫外线固化树脂，搪瓷漆，胶合板，有污渍的桌布
    45.7 x 35.6 x 19.7 cm
    18 x 14 x 8 in
    Peggy Chiang’s work often begins with a legible yet ordinary subject, an object that could be commonplace or even peripheral. Chiang borrows the images and names of things and their attached associations to reconstruct, alter or combine, casting doubt on the passivity of objects and troubling the logic around representation and value.
     
    "Forming" (2024) consists of a small shelf-work, protruding from the wall like the angled corners of restaurant tables. This assisted readymade focuses on the traces and aftermath of labor in the absence of a “product.” Empty takeout containers with simulated steam atop stained tablecloths are the sole objects on display for consumption.
    ENQUIRE
  • Elizabeth Jaeger 伊丽莎白·耶格
    Rat 老鼠, 2024
    ceramic, bronze 陶瓷，青铜
    10.8 x 10.2 x 33 cm
    4 1/2 x 4 x 13 in
    ENQUIRE
  • 'Cuscino' (2024) by Alessandro Teoldi is an oil and linen collage mounted on linen, marking a new direction in the...
    Alessandro Teoldi 亚历山德罗·泰尔迪
    Cuscino 枕, 2024
    oil and linen collage mounted on linen 油画、亚麻拼贴覆于亚麻布上
    27.9 x 35.6 cm
    11 x 14 in
    "Cuscino" (2024) by Alessandro Teoldi is an oil and linen collage mounted on linen, marking a new direction in the artist’s practice. In this piece, Teoldi uses leftover fabrics that are dyed, painted, and collaged together. The work reflects a process of transformation, where discarded materials are reimagined into a tactile, almost sculptural form. By repurposing these remnants, Teoldi creates a sense of texture and depth, while also invoking ideas of waste, recycling, and the value of materials. The cushion-like form of the work contrasts the rough, repurposed nature of the fabrics, challenging the viewer’s perception of comfort, utility, domesticity and aesthetics.
    ENQUIRE
  • Alessandro Teoldi’s terracotta relief 'Still Life' (2022) is an intricate exploration of form, texture, and depth. The work features a...
    Alessandro Teoldi 亚历山德罗·泰尔迪
    Still Life 静物, 2022
    terracotta 赤陶
    47 x 34 x 2.5 cm
    18 1/2 x 13 1/2 x 1 in
    Alessandro Teoldi’s terracotta relief "Still Life" (2022) is an intricate exploration of form, texture, and depth. The work features a composition of bottles, a wine glass, and a table napkin, rendered in a way that transforms the traditional still life into a multi-dimensional experience. The relief is constructed in layers, with each element — the bottles, glass, and napkin — emerging from the surface in varying degrees of relief, creating a tactile, almost sculptural effect.
    ENQUIRE
  • “Savoring” (2025) is a recently created signature artwork by Tao Siqi. In this piece, Tao continues her exploration into themes...
    Tao Siqi 陶斯祺
    Savoring 品尝, 2025
    oil on canvas 布面油画
    60 x 90 cm
    23 1/2 x 35 1/2 in

    “Savoring” (2025) is a recently created signature artwork by Tao Siqi. In this piece, Tao continues her exploration into themes such as desire, intimacy, dependence, violence, and destruction. With a compassionate gaze, she examines the complexity of human emotions and desires, portraying them with a rare sense of empathy, and redefining notions of taboo and eroticism into a prism that refracts our physical and emotional experiences. Through her delicate brushstrokes and using intimate close-ups of subject, Tao captures moments that oscillate between tenderness and struggle.

     

    In “Savoring”, a figure cradles a bare foot and kisses it — an act that conveys an intoxicating obsession, tinged with an unspoken yearning for possession. The fluorescent green glow dominating the scene and the snake coiling below add a surreal, enigmatic presence, drawing viewers into a fluid and charged emotional landscape she crafts.

     

    Tao Siqi's paintings are rooted in her fascination with the body and flesh as a medium of sensibility and sexuality. She delves into desire of all forms through her intense colors, delicate brushstrokes and characteristic close-up perspective. By creating a tension between beauty and destruction, tenderness and violence, temptation and taboo, her surreal scenes inspire a provocative viewing experience and conjure emotional unease, flickering between pleasure and pain.

    ENQUIRE
  • In “Snare” (2025), Tao Siqi captures and portrays a fleeting moment where touch and restraint, temptation and danger intertwine. A...
    Tao Siqi 陶斯祺
    Snare 陷阱, 2025
    oil on canvas 布面油画
    25 x 30 cm
    10 x 12 in

    In “Snare” (2025), Tao Siqi captures and portrays a fleeting moment where touch and restraint, temptation and danger intertwine. A hand emerges from a shadowy crevice. Its damp, viscous texture glistening ambiguously beneath the shifting light. The hand transcends from an extension of the body into a potent symbol of psychological and emotional states. It speaks to the inherent contradictions of human emotions — a simultaneous longing and fear, an urge to approach and a desire to retreat.

    ENQUIRE
  • Interplaying their diverse physical properties and cultural meanings, Chan continues her investigation of materiality and layered temporality through her astute...
    Leelee Chan 陳麗同
    Shapeshifter (Volva) 变型体（梭螺）, 2025
    hand-carved China black granite and CNC-milled stainless steel 中国黑花岗岩石，CNC铣削不锈钢
    114 x 29 x 21 cm
    45 x 11 1/2 x 8 1/2 in
    Interplaying their diverse physical properties and cultural meanings, Chan continues her investigation of materiality and layered temporality through her astute sensitivity to material objects and her deep reverence for process. In Spiral Diaries, the recurring motifs of natural forms, mollusks, plants, and whelk egg cases probe her perpetual fascination with the unsettling metamorphosis of the natural world, particularly the mollusk’s supreme resilience and their ability to shapeshift by reconfiguring and repurposing individual body parts through natural selection for billions of years.
     
    As shell-makers, mollusks are architects that have turned calcium carbonate in the seawater into ceramic spirals whose afterlife has penetrated human civilization since prehistoric times. Biologists suggest that mollusks can read the patterns on their spiral shells as though they were diary entries, a vital element for their memory and orientation before continuing their construction. In this way, the patterns become a collection of memories etched across their shells, almost like a depiction of movement through time without a complete final image.
     
    Instead of a juxtaposition, Chan's sculptures propose rather a form of composition that encompasses multiple stages of the same material history, thus reflecting the entanglement with the more-than-human world and proposing an alternative way of thinking and learning from other forms of intelligence. In doing so, they underline the irreversible modifications of morphology caused by human decisions as they question the fundamental notion of progress and development, ultimately offering an alternative view of the Western constructs of human-centric advancement and growth.
    ENQUIRE
  • Nicki Cherry’s 'Holding Pattern' (2025) features hands, arms and shoulder blades, with one hand gripping a support bar while the...
    Nicki Cherry 尼基·切里
    Holding Pattern 悬而未决, 2025
    fiberglass-reinforced gypsum cement, concrete pigment, stainless steel hardware, blister pearls 玻璃纤维增强石膏水泥、混凝土颜料、不锈钢配件、翳珠
    124.5 x 51 x 30.5 cm
    49 x 20 x 12 in
    Nicki Cherry’s "Holding Pattern" (2025) features hands, arms and shoulder blades, with one hand gripping a support bar while the other folds inwards, forming a crossed-leg triangle shape reminiscent of the Hanged Man card in tarot — a symbol of alchemy. The sculpture’s palm is partially opened, with the bar resting against it rather than firmly grasped, evoking a sense of longing to let go yet being unable to do so, as if suspended in a liminal state. Embedded within the body of the sculpture are cast iron pearls, seemingly formed from the excess emotions that have seeped out, calcifying like a scab on its surface.
    ENQUIRE
  •
  • Alessandro Teoldi’s 'Hug' (2023) is a bronze relief sculpture that depicts two figures embracing in a moment of quiet intimacy....
    Alessandro Teoldi 亚历山德罗·泰尔迪
    Hug 拥抱, 2023
    bronze 青铜
    16 x 9 cm
    6 1/2 x 3 1/2 in

    Alessandro Teoldi’s "Hug" (2023) is a bronze relief sculpture that depicts two figures embracing in a moment of quiet intimacy. The minimalist lines and delicate engraving emphasize the tenderness of the gesture, evoking warmth, comfort, and connection. The flattened, almost ethereal representation of the bodies enhances the sense of emotional depth, making the piece both intimate and universal.

    ENQUIRE
  • Tian Jianxin’s 'Eye Drops' (2024) combines elements of surrealism and everyday objects. The piece depicts an eye with a drop,...
    Tian Jianxin 田建新
    Eye Drops 眼药水, 2024
    aluminium lid 铝炖锅盖
    16 x 16 x 6 cm
    6 1/2 x 6 1/2 x 2 1/2 in
    Tian Jianxin’s "Eye Drops" (2024) combines elements of surrealism and everyday objects. The piece depicts an eye with a drop, resembling a tear. What makes the work particularly intriguing is the medium and the transformation of the ordinary object used to create the image. The eye is realized on an aluminum lid, most likely the cover of a pot, which brings a sense of everyday domesticity into the artwork.
     
    In this piece, the pupil of the eye is reimagined as the handle of the pot, blending the human form with the utilitarian object in a subtle yet striking way. The combination of the human eye and the pot lid creates a tension between the organic and the manufactured, inviting the viewer to reconsider the significance and symbolism of these objects when placed in this unexpected context. The drop enhances the emotional and metaphorical weight of the work, suggesting themes of vulnerability, fragility, and the passage of time.
    ENQUIRE
  • Sarah Faux’s paintings uniquely blend figuration and abstraction, dissolving bodies into fluid gestures and sensuous color fields that hover between...
    Sarah Faux 莎拉·福克斯
    More 更多, 2022
    oil on canvas 布面油画
    55.9 x 50.8 cm
    22 x 20 in
    Sarah Faux’s paintings uniquely blend figuration and abstraction, dissolving bodies into fluid gestures and sensuous color fields that hover between recognition and ambiguity. “More” (2022) is a painting created in a single, uninterrupted session—a one-shot piece driven by focus and immediacy. Faux's small paintings serve as fleeting glimpses of moments where the body spills beyond its own boundaries, defying containment. On this work,  she was reflecting on excess, on the ever-present gap between desire and reality, and the way we constantly crave more—more sensuality, more pleasure, more color, more chaos. Our bodies, messy and unpredictable, accompany us through life in ways we cannot always control. 
    ENQUIRE
  • (Larger version of this image opens in a popup).
    (Larger version of this image opens in a popup).
    (Larger version of this image opens in a popup).
  • The light, extemporaneous nature of Wang Haiyang’s watercolours in his ongoing series, “Human Beast Ghost” (2019-) reveals the delicate side...
    Wang Haiyang 王海洋
    Human Beast Ghost 人鬼兽, 2023
    watercolour on paper 纸本水彩
    51 x 35.5 cm; 20 x 14 in
    57.5 x 41.7 cm; 22 1/2 x 16 1/2 in (framed 含框)
    The light, extemporaneous nature of Wang Haiyang’s watercolours in his ongoing series, “Human Beast Ghost” (2019-) reveals the delicate side of Wang’s painting. These works are an ode to the flow of energy uniting the human and animal realms. In this cosmic dance, the subconscious of the painter shapes compositions in which the cyclic nature and interconnectedness of all beings is portrayed through a phantasmagoria of shapes and creatures, in a chain of musings touching upon personal, societal, mythological, and philosophical dimensions. If seen from afar, what first appear as stains of pure colour on closer viewing reveal the incessant flow of life, and the interconnection of both constructive and destructive forces.
    ENQUIRE
  • Invisible Dragon (Int. Strain) (2025) by Douglas Rieger is a striking sculptural work that juxtaposes industrial strength with organic fluidity....
    Douglas Rieger 道格拉斯·莱杰
    Invisible Dragon (Int.Strain) 不可见之龙（内部张力）, 2025
    wood, paint, aluminum, steel, hardware 木材，颜料，铝，钢，五金配件
    Sculpture 主体: 81.3 x 81.3 x 152.4 cm; 32 x 32 x 60 in
    Base 底座: 139.7 x 139.7 x 76.2 cm; 55 x 55 x 30 in
    Invisible Dragon (Int. Strain) (2025) by Douglas Rieger is a striking sculptural work that juxtaposes industrial strength with organic fluidity. The piece features a robust steel base, providing a solid foundation for the large sculptural form resting atop it. This upper structure, with its undulating contours and evocative physicality, suggests a dynamic interplay between tension and release.
     
    This sculpture functions as a tool, embodying a process-driven approach rather than one dictated by a preconceived idea or opinion. For the artist, the form comes first, leading the way, while meaning and ideas emerge in response. Unlike traditional methods where an idea precedes the object, here, the act of making generates thought.
     
    While rooted in drawing, the final work diverges significantly from its initial sketches. The connection between the two develops organically during the sculpting process, shaped by trial, error, and the essential role of the artist’s direct engagement with the material. Flawed logic and mistakes become integral elements of the work’s evolution.
     
    This sculpture is both personal and open-ended—it holds traces of an encounter with decaying industrial equipment near the artist’s childhood home, a past relationship, and places that once sparked excitement. It exists as an abstracted form, a vessel for projection and interpretation, allowing both artist and viewer to find meaning within it.
     
    Like fire or music, sculpture resists full capture. A photograph can never fully convey its presence; movement is lost, shape shifts, and experience changes. It harbors a secret, one that can only be uncovered through direct engagement—by being in its presence.
    ENQUIRE
  • 'My Projection” (2024) is a sculptural work by Young-jun Tak. Hand-carved from lime wood by a Bavarian family of master...
    Young-jun Tak 卓永俊
    My Projection 我的投射, 2024
    lime wood, brass, beeswax 椴木、黄铜、蜂蜡
    25.3 x 11 x 10.8 cm
    10 x 4 1/2 x 4 1/2 in
    Edition of 5 plus 1 artist's proof
    "My Projection” (2024) is a sculptural work by Young-jun Tak. Hand-carved from lime wood by a Bavarian family of master woodcarvers in their 15th generation of sculpting religious figures, the piece features two white asparagus stalks encircled by a polished brass ring. Notably, a young male head emerges from one stalk, gazing upward with an expression of longing. When viewed from a specific angle, the composition reveals a Latin cross shape. This work explores themes of desire, cultural symbolism, and the intersection of the sacred and the everyday. 
     
    White asparagus, known as Spargel, is one of the most beloved vegetables in German-speaking regions. Originally introduced to Europe from Asia, the Middle East, and North Africa, it was brought to the territories of present-day Germany through ancient Roman culinary traditions. Revered as “white gold,” it is traditionally harvested each spring from April until June 24th—the feast day of Saint John the Baptist, which coincides with the ancient Northern European summer solstice. According to biblical accounts, John the Baptist was beheaded by order of Herod Antipas at the request of his stepdaughter, Salome. The human head in the sculpture is based on historical depictions of the saint, drawing a symbolic connection between the revered vegetable and the martyr’s fate.
    ENQUIRE
  • 'Blue Dream, Red Midsummer Night' (2023) by Wang Haiyang depicts a figure from the back, caught in a transformative state,...
    Wang Haiyang 王海洋
    Blue Dream, Red Midsummer Night 蓝色梦魇与红色仲夏夜, 2023
    acrylic on canvas 布面丙烯
    80 x 80 cm
    31 1/2 x 31 1/2 in
    "Blue Dream, Red Midsummer Night" (2023) by Wang Haiyang depicts a figure from the back, caught in a transformative state, as their human form morphs into something more organic and fluid. The figure seems to be in the midst of an emotional or physical transition, where the boundaries of the human body dissolve, suggesting a connection to the natural world or a deeper primal state.
     
    In the foreground, the figure gazes intently through a curtain made of plastic pearls, symbolizing both separation and longing. Beyond this curtain, the viewer’s eye is drawn to a hairy male body, its presence both intimate and distant, adding to the sense of mystery and desire, as the figure’s longing gaze reflects an unattainable or unreachable desire.
     
    This evocative composition invites viewers to explore the tension between the physical self and the natural world, while also touching on themes of voyeurism, intimacy, and the fluidity of identity. The scene, rich with texture and layered meaning, evokes a sense of alienation, desire, and metamorphosis, while remaining deeply introspective.
     
    The title references Shakespeare’s play "A Midsummer Night’s Dream", suggesting themes of fantasy and illusion.
    ENQUIRE
  • Leelee Chan's latest sculpture, “Ode to Hilma,” is a tribute to Swedish painter Hilma af Klint (1862-1944), a woman of...
    Leelee Chan 陳麗同
    Ode to Hilma 致希尔玛, 2024
    found polystyrene foams, powder-coated metal lampshade, dried coral, stainless steel wheels, epoxy clay, pigment, modified gypsum composite 拾得聚苯乙烯泡沫，粉末喷涂金属灯罩，干珊瑚，不锈钢转轮，环氧粘土，颜料，改性石膏复合材料
    74 x 62 x 25 cm
    29 x 24 1/2 x 10 in

    Leelee Chan's latest sculpture, “Ode to Hilma,” is a tribute to Swedish painter Hilma af Klint (1862-1944), a woman of immense bravery who dared to break with accepted conventions amidst rapid cultural and socio-economic flux during her lifetime. This sculpture expresses her deep affection for Af Klint's visionary paintings and is a testament to her inspiring courage in capturing the present moment by merging elements of the past, present, and future. Af Klint was able to fuse complex ideas and belief systems from nature, religion, language, folk, art, science, and the occult into a radical visual vocabulary of symbols, geometric forms, ambiguous life forms, and representational motifs. This elasticity of temporality and the openness to connect convey a mutual search on how to materialize life force through the process of making. Af Klint’s paintings have been described as “a form of time traveler”. In Leelee's own work, she similarly seek to create sculpture that continuously transforms and evolves.

    ENQUIRE
  • (Larger version of this image opens in a popup).
    (Larger version of this image opens in a popup).
    (Larger version of this image opens in a popup).
    (Larger version of this image opens in a popup).
  • Elizabeth Jaeger’s 'Beetles' (2024) is an immersive installation comprising hundreds of handmade beetles crafted from brass and ceramic. Each beetle...
    Elizabeth Jaeger 伊丽莎白·耶格
    Beetles 甲壳虫, 2024
    ceramic, brass 陶瓷，黄铜
    Set of 30 pcs; dimensions variable 一组30个，尺寸可变

    Elizabeth Jaeger’s "Beetles" (2024) is an immersive installation comprising hundreds of handmade beetles crafted from brass and ceramic. Each beetle is unique, featuring distinct facial expressions, contributing to the installation’s dynamic and engaging atmosphere. Installed in the pop-up exhibition space of Capsule at Hilltop Plaza in Hong Kong, the beetles are almost guiding visitors through the space: clusters of beetles greet visitors at the exhibition’s entrance, creating an immediate sense of intrigue and anticipation, and leading attendees toward the main exhibition area, effectively directing the flow of movement and enhancing the spatial experience. Occasionally, some beetles are found interacting with a ceramic dog, which appears immobilized within a fence, adding a narrative element to the installation.

    ENQUIRE
  • Elizabeth Jaeger’s 2024 sculpture, “Rail (Polly),” explores themes of confinement and observation. The work features a ceramic dog positioned within...
    Elizabeth Jaeger 伊丽莎白·耶格
    Rail (Polly) 围栏（波莉）, 2024
    steel, ceramic, brass 钢，陶瓷，黄铜
    94.6 x 117.2 x 92.7 cm
    37 1/4 x 46 1/8 x 36 1/2 in

    Elizabeth Jaeger’s 2024 sculpture, “Rail (Polly),” explores themes of confinement and observation. The work features a ceramic dog positioned within a steel and brass rail structure. The dog appears in a state of in-betweenness, expressing the tension of feeling trapped and the desire to act, yet seemingly conditioned to be an onlooker rather than an active participant. This dynamic invites viewers to reflect on the boundaries between observer and observed, and the ways in which domestication can influence autonomy.

    ENQUIRE
  • Elizabeth Jaeger’s 'Rail (Flaco)' (2024) is a poignant ceramic and bronze sculpture inspired by the true story of Flaco, a...
    Elizabeth Jaeger 伊丽莎白·耶格
    Rail (Flaco) 围栏（弗拉科）, 2024
    ceramic, bronze 陶瓷，青铜
    owl 猫头鹰: 45.7 x 21.6 x 22.9 cm; 18 x 8 1/2 x 9 in
    stand 底座: 18.8 x 26.3 x 22.5 cm; 7 1/2 x 10 1/2 x 9 in
    fence 栅栏: 121.7 x 248.5 x 122.5 cm; 48 x 98 x 48 in
    Elizabeth Jaeger’s "Rail (Flaco)" (2024) is a poignant ceramic and bronze sculpture inspired by the true story of Flaco, a Eurasian eagle-owl who captivated New Yorkers with his daring escape from the Central Park Zoo in February 2023. After evading recapture, Flaco adapted to urban life, becoming a symbol of freedom and resilience until his untimely death in February 2024.
     
    The sculpture portrays Flaco perched on a railing, capturing his vigilant and enigmatic presence. Initially displayed at Capsule in Shanghai, the piece overlooked a tranquil garden, enveloped in an aura of mystery. Relocated to Capsule’s pop-up space at Hong Kong’s Hilltop Plaza, the installation now faces one of the city’s busiest streets, visible even from the thoroughfare. This strategic positioning enhances the themes of observation and being observed, inviting passersby to reflect on the transient nature of freedom and the profound connections between urban wildlife and city inhabitants.
     
    Jaeger’s work not only commemorates Flaco’s legacy but also prompts dialogue about the challenges faced by urban wildlife, encouraging viewers to contemplate the delicate balance between nature and the built environment.
    ENQUIRE
  • Elizabeth Jaeger’s 2024 “Rat” series features small-scale sculptures crafted from ceramic and bronze. The sculptures depict rats in various poses,...
    Elizabeth Jaeger 伊丽莎白·耶格
    Rat 老鼠, 2024
    ceramic, bronze 陶瓷，青铜
    17.8 x 11.4 x 24.1 cm
    7 x 4 1/2 x 9 1/2 in
    Elizabeth Jaeger’s 2024 “Rat” series features small-scale sculptures crafted from ceramic and bronze.  The sculptures depict rats in various poses, capturing the creatures’ characteristic agility and curiosity. Jaeger’s meticulous attention to detail and texture imbues each piece with a lifelike presence, inviting viewers to reconsider their perceptions of these often-maligned animals. By rendering rats in enduring materials like ceramic and bronze, the artist elevates their status, prompting reflections on themes of survival, adaptability, and the complex relationship between humans and urban wildlife. In a 2024 interview with Flash Art, Jaeger discussed her interest in animals that thrive in the margins of human society, noting that rats, in particular, embody resilience and resourcefulness. 
     
    ENQUIRE
  • Elizabeth Jaeger 伊丽莎白·耶格
    Rat 老鼠, 2024
    ceramic, bronze 陶瓷，青铜
    10.2 x 29.2 x 10.2 cm
    4 x 11 1/2 x 4 in
    ENQUIRE
  • Tian Jianxin’s 'Kidney (front)' (2022) merges classical sculptural forms with the humble, everyday object of a Chinese food aluminium box...
    Tian Jianxin 田建新
    Kidney (front) 腰子正, 2022
    aluminium lid 铝盖
    18 x 5 x 10 cm
    7 x 2 x 4 in

    Tian Jianxin’s "Kidney (front)" (2022) merges classical sculptural forms with the humble, everyday object of a Chinese food aluminium box lid. The relief of a nude female body emerges sensually from the surface of the lid and is intricately integrated into its curved shape, following the contours of the object in a fluid and natural manner. This creates a seamless dialogue between the human form and the everyday object, inviting the viewer to consider the ways in which mundane items can evoke deeper, more intimate associations.

    ENQUIRE
  • Tian Jianxin’s 'Sideburn' (2024) is a playful work that reimagines a found object — a Japanese aluminum bottle — through...
    Tian Jianxin 田建新
    Sideburn 鬓, 2024
    Japanese aluminium bottle日本铝水壶
    11 x 6 x 18 cm
    4 1/2 x 2 1/2 x 7 in
    Tian Jianxin’s "Sideburn" (2024) is a playful work that reimagines a found object — a Japanese aluminum bottle — through manual alteration. The bottle, typically utilitarian, serves as the canvas for a surreal transformation. At its center, a smiley face emerges from the surface, as though it is coming to life, imparting a sense of both humor and intrigue.
     
    Using hammering and chiseling, Tian alters the smooth aluminum surface. The marks left by the hammer and chisel provide a raw, almost visceral quality to the piece, contrasting with the innocent, iconic nature of the smiley face. This juxtaposition creates a tension between the simplicity of the image and the complex, labor-intensive process behind its creation.
     
    "Sideburn" evokes a sense of whimsy while also raising questions about identity, consumerism, and the re-contextualization of everyday objects. By transforming a seemingly mundane object into a vehicle for expression, Tian Jianxin invites viewers to reflect on the ways in which we assign meaning to the objects around us, and how these objects can take on new significance when altered by an artist’s hand.
    ENQUIRE
  • The series 'The dreamer slept but did not dream' (2024) consists of a set of visual fragments, reflections on the...
    Luca Campestri 卢卡·坎佩斯特里
    The dreamer slept but did not dream 梦者沉睡却未曾做梦, 2024
    direct printing on retro-reflective fabric 直接印刷于反光织物
    18 x 24 cm
    7 x 9 1/2 in
    The series "The dreamer slept but did not dream" (2024) consists of a set of visual fragments, reflections on the nature of vision itself. The sensitivity of the owl's visual apparatus is replicated by the quality of the retro-reflective support, activated by the movements of the viewer or by changes in lighting. The image presents a literary topos, that of entering the nocturnal forest, torch in hand, in search. Surrounding the viewer is a set of fairy-tale animals, symbolic but also real, part of the artist's personal archive.
     
    The series evokes the ambiguity of a threshold condition, a hypnagogic state, the paradox inherent in the inability to distinguish night from day, dream and wakefulness: the owl, a nocturnal animal, benevolent as well as malevolent in folklore, awake while people dream: an almost hallucinatory vision for the observer who enters the interstice of the threshold. The atmosphere suggested is the sleepless, foggy and surreal one that permeates Vargtimmen (1968) by Ingmar Bergman, in which the protagonist is immersed, unable to distinguish dream from reality. The three small icons outline a sort of perceptive rhythm, a visual intensity that grows in the three images and ends in a silent and dreamless sleep.
    ENQUIRE
  • The series 'The dreamer slept but did not dream' (2024) consists of a set of visual fragments, reflections on the...
    Luca Campestri 卢卡·坎佩斯特里
    The dreamer slept but did not dream 梦者沉睡却未曾做梦, 2024
    direct printing on retro-reflective fabric 直接印刷于反光织物
    18 x 24 cm
    7 x 9 1/2 in
    The series "The dreamer slept but did not dream" (2024) consists of a set of visual fragments, reflections on the nature of vision itself. The sensitivity of the owl's visual apparatus is replicated by the quality of the retro-reflective support, activated by the movements of the viewer or by changes in lighting. The image presents a literary topos, that of entering the nocturnal forest, torch in hand, in search. Surrounding the viewer is a set of fairy-tale animals, symbolic but also real, part of the artist's personal archive.
    The series evokes the ambiguity of a threshold condition, a hypnagogic state, the paradox inherent in the inability to distinguish night from day, dream and wakefulness: the owl, a nocturnal animal, benevolent as well as malevolent in folklore, awake while people dream: an almost hallucinatory vision for the observer who enters the interstice of the threshold. The atmosphere suggested is the sleepless, foggy and surreal one that permeates Vargtimmen (1968) by Ingmar Bergman, in which the protagonist is immersed, unable to distinguish dream from reality. The three small icons outline a sort of perceptive rhythm, a visual intensity that grows in the three images and ends in a silent and dreamless sleep.
    ENQUIRE
  • Shattered (2024) depicts a detail from Rogier van Der Weyden’s Descent from the Cross (c.1435). Painted on an amethyst geode,...
    Chris Oh 克里斯·吴
    Shattered 碎裂, 2024
    acrylic on geode 紫晶洞上丙烯设色
    10.8 x 13.3 x 10.8 cm
    4 1/4 x 5 1/4 x 4 1/4 in
    Shattered (2024) depicts a detail from Rogier van Der Weyden’s Descent from the Cross (c.1435). Painted on an amethyst geode, it shows the face of a woman consumed by grief. Chaotic forces strain upon dimensions of anguish as crystalline tears stream down her face. She endures the tensity of her pain while aching for release, fracturing within a vortex of despair.
    ENQUIRE
  • Deluge (2025) depicts a detail from Rogier van Der Weyden’s Descent from the Cross (c.1435), painted on an abalone shell....
    Chris Oh 克里斯·吴
    Deluge 大洪水, 2025
    acrylic on seashell 贝壳上丙烯设色
    17.1 x 13.3 x 5.1 cm
    7 x 5 1/2 x 2 in

    Deluge (2025) depicts a detail from Rogier van Der Weyden’s Descent from the Cross (c.1435), painted on an abalone shell. It shows the face of woman engulfed by catastrophe. Receding layers of sorrow reveal her eroding features, dissolving into the the green-pink hues of the abalone’s nacre. Surrounded by wisps of iridescence, she endures the torments of her agony, craving for life while drowning in grief.

    ENQUIRE
  • (Larger version of this image opens in a popup).
    (Larger version of this image opens in a popup).
    (Larger version of this image opens in a popup).
  • Alice Wang 王凝慧
    Untitled 无题, 2025
    silver leaf, UV light fluorescent pink pigment, resin 银箔，紫外线荧光粉色颜料，树脂
    13.25 x 10.5 x 9 cm
    5 x 4 x 3 1/2 in
    ENQUIRE
  • The hexagon column is a naturally occurring geometric structure formed in the universe. “Untitled' (2025) draw inspiration from hexagonal formations...
    Alice Wang 王凝慧
    Untitled 无题, 2025
    salt, resin 盐，树脂
    9 x 13 x 11 cm
    3 1/2 x 5 x 4 1/2 in
    The hexagon column is a naturally occurring geometric structure formed in the universe.
     
    “Untitled" (2025) draw inspiration from hexagonal formations on Earth such as basalt columns found in volcanic sites and the decades-long wind storm still happening at the north pole on Saturn. Experimenting with geometric abstraction, the work takes the hexagon column as a readymade for the self-organizing and self-generating intelligence of nature.
     
    It was made in direct connection to the latest film "Pyramids and Parabolas III" (2024). A structuralist meditation on alienation and exploration, "Pyramids and Parabolas III" draws from six years of solo expeditions to landscapes that mirror extraterrestrial terrains. Filmed across Utah, New Mexico, Arizona, Iceland, and the Arctic, the work layers poetic narration with vivid imagery of deserts, ice fields, and volcanic formations. Wang uses the camera to investigate both the physical and psychological solitude of navigating these spaces, connecting hexagonal elemental patterns of the Earth to the vast, unknowable geometry of the universe. The work also ties these reflections to Wang’s personal history, recounting her grandfather’s life as a Chinese spy and linking themes of secrecy and survival to the metaphorical isolation of astronauts and explorers.
     
    ENQUIRE
  • In 'Rain on Lake' (2023) Bryson Rand captures the interplay of light and water, transforming texture into something intricate and...
    Bryson Rand 布莱森·兰德
    Rain on Lake 湖上雨, 2023 (printed 2024)
    pigment print 喷墨打印
    71.1 x 53.3 cm; 74 x 56.5 cm (framed 含框)
    28 x 21 in; 29 x 22 in (framed 含框)
    Edition of 3 plus 1 artist's proof
    In "Rain on Lake" (2023) Bryson Rand captures the interplay of light and water, transforming texture into something intricate and evocative. His composition goes beyond surface details, creating a kind of landscape where light and movement merge. In this particular image, the water’s surface, touched by light, takes on a metallic quality—shifting, reflective, almost alive. The complexity of the scene emerges not just from the rippling patterns but from the way illumination shapes and reshapes the space, making it both tangible and elusive.
    ENQUIRE
  • 'Chain/Shadows” (2023) by Bryson Rand is a black-and-white photograph that captures the interplay between light and industrial elements. The composition...
    Bryson Rand 布莱森·兰德
    Chain/Shadows 锁链/阴影, 2023 (printed 2024)
    pigment print 喷墨打印
    71.1 x 50.8 cm; 74 x 53.5 cm (framed 含框)
    28 x 20 in; 29 x 21 in (framed 含框)
    Edition of 3 plus 1 artist's proof
    "Chain/Shadows” (2023) by Bryson Rand is a black-and-white photograph that captures the interplay between light and industrial elements. The composition features a hanging chain casting shadows against a concrete surface, creating a complex interplay of lines and forms. This work exemplifies Rand’s ability to find beauty in everyday objects, transforming them into compelling visual narratives.
    ENQUIRE
  • 'Tony’s Back” (2023) by Bryson Rand is a pigment print capturing the back of a male figure, his skin glistening...
    Bryson Rand 布莱森·兰德
    Tony's Back 托尼的背, 2023 (printed 2024 印相于2024)
    pigment print 喷墨打印
    71.1 x 50.8 cm; 74 x 53.5 cm (framed 含框)
    28 x 20 in; 29 x 21 in (framed 含框)
    Edition of 3 plus 1 artist's proof

    "Tony’s Back” (2023) by Bryson Rand is a pigment print capturing the back of a male figure, his skin glistening with water droplets. Light and shadow play across his form, emphasizing the contours of his muscles and the texture of his damp skin. The image exudes a quiet intimacy, evoking themes of vulnerability and sensuality. As with much of Rand’s work, this piece transforms a fleeting, everyday moment into a powerful visual narrative, resonating with personal and collective queer histories.

    ENQUIRE
  • Maya Kramer’s 'Grey Zone' (2018) is an immersive wall installation that evokes a pervasive sense of alienation through the depiction...
    Maya Kramer 玛雅·克莱默
    Grey Zone 灰色地带, 2018
    Aluminum, enamel, plexiglass, pump, fans, water 铝、搪瓷、有机玻璃、泵、风扇、水
    100.5 x 70 x 15.5 cm
    Edition of 3 plus 1 artist's proof
    Maya Kramer’s "Grey Zone" (2018) is an immersive wall installation that evokes a pervasive sense of alienation through the depiction of a window that doesn't offer a vista, but frames a grey background which is perpetually shrouded by rain. The piece transforms the gallery space into a contemplative environment. The continuous flow of water and the subtle movement generated by the fans create an atmosphere where the boundaries between the viewer and the artwork blur, inviting introspection on themes of isolation and the passage of time. This installation exemplifies Kramer’s exploration of human interaction with nature and the mechanical, encouraging reflection on our emotional responses to environmental stimuli.
    ENQUIRE
  • Elizabeth Jaeger’s 'Sudden Footsteps' (2024) is a ceramic sculpture portraying a dog in a state of heightened anxiety, seemingly signaling...
    Elizabeth Jaeger 伊丽莎白·耶格
    Sudden footsteps 突如其来的脚步声, 2024
    ceramic 陶瓷
    16.5 x 48.3 x 48.3 cm
    6 1/2 x 19 x 19 in
    Elizabeth Jaeger’s "Sudden Footsteps" (2024) is a ceramic sculpture portraying a dog in a state of heightened anxiety, seemingly signaling an ominous presence. Jaeger’s oeuvre often delves into the psychological and perceptual dimensions of sculptural space, engaging viewers with enigmatic objects that recalibrate their surrounding environment.
    ENQUIRE
  • At the center of Mevlana Lipp's work 'Needle' (2025), a stiletto emerges as the dominant element, surrounded by blossoms. In...
    Mevlana Lipp 梅夫拉纳·利普
    Needle 针, 2025
    wood, velvet, acrylic color, ink, sand, aluminum stretcher 木材，天鹅绒，丙烯颜料，墨水，沙粒，铝制画框
    45 x 33 x 4 cm
    17 1/2 x 13 x 1 1/2 in
    At the center of Mevlana Lipp's work "Needle" (2025), a stiletto emerges as the dominant element, surrounded by blossoms. In places, it slices through delicate petals, its blade seemingly infused with an inner glow—a bluish luminescence that lends it an almost otherworldly presence. The weapon itself bears floral elements, as if it were not merely an instrument of violence but an organic extension of the plant world. It both cuts and pierces the flowers, yet at the same time, they appear drawn to it, like moths irresistibly attracted to light.
     
    The work explores polarity—danger and beauty, attraction and violence. Encircling the central composition, a series of pearls form an ornamental frame. These pearls symbolize both purity and sexuality, their very nature embodying transformation: born from the irritation of a sharp grain of sand, a foreign and potentially harmful intrusion, they are transmuted within the shell into objects of luminous perfection.
     
    The entire piece revolves around these opposing forces, which, rather than canceling each other out, remain simultaneously present, shaping and defining one another in their tension.
    ENQUIRE