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Gordon Cheung

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Machine Dreams, 2003 Gordon Cheung
Machine Dreams, 2003 Gordon Cheung
"Think Matrix – the entire world as a computer construct – crossed with David Lynch’s surreal, dream spaces and the multiple realities in the novels of Philp K. Dick or J.G. Ballard, and you have the cultural background to ‘Machine Dreams’, where a monstrous blackened tree grows out of dead ground before a collapsing housing block, or ‘Mycloptic Shift’, a parodic reconfiguration of the romantic sublime: it has a sunset, rainbow, a share price mountain and tumbling cascades – where not nature but technology overwhelms us. His energetic, witty work is a classic product of an urban 1970s and 1980s childhood, caught between the fast street-cred and blaze of cheap materialism outside and the inner world of computer games in which his generation was the first to grow up."
‘Market Gains’, Jackie Wullschlager, Financial Times magazine, Oct 16 2004
Machine Dreams (Detail), 2003
Machine Dreams (Detail), 2003
"More exotic, more complex, they still comment on the human condition on our post industrial foundations. As color overwhelms monochrome a new exuberance is in evidence, demonstrated by his Neon Oasis, where two neon palm trees glow against a tawdry background of dilapated high-rise apartments with electric brilliance whose scintillation seems to penetrate the canvas itself."
‘Gordon Cheung’, Roy Exley, Flash Art no.240 Jan-Feb 2005
Neon Oasis, 2004 Gordon Cheung
Neon Oasis, 2004 Gordon Cheung
Brueghel
Brueghel's Highway, 2004 Gordon Cheung
Crater, 2004 Gordon Cheung
Crater, 2004 Gordon Cheung
"It is deeply enigmatic; as a small and unassuming object, it appears to have been artlessly knocked together, and yet it looks like the outcome of a virtuoso image-making performance.
The work in question is Colliderscape by Gordon Cheung, and it is the first in a series - number two, a similar work, hangs alongside it. The title hints at the multiple, hallucinatory visions induced by kaleidoscopes, but aggressively avoids such childlike harmony and beauty. The different representational systems at work in the painting - news media, share prices, photographic imagery, landscape traditions, psychological triggers, etc - make it a complex, fractured artwork. This is the collision that the title refers to: a representational collision made urgent to Cheung during his recent residencies in Pakistan and Japan that influenced his combinations of saturated colours and soft black inks.
(....)these new pieces are as bold and cold as a Warhol screen print. And where they could have been slick and soulless, instead they are awkward, uncomfortable: irritating as a splinter, but beguiling nonetheless. If the exhibition's conceit is an apocalypse not through destruction but the evolution of a globalised techno-pop culture, then, yes, this is what it might look like."
‘Apopalyptical’, Houldsworth Gallery, London, David Barrett, Art Monthly, Issue 276, May 2004
"In a world where Thoreau’s remote cabin becomes home to the Unabomber, the Japanese enjoy artificial indoor beaches, and Friedrich’s expnses have electricity marching across them, its disparate discourses were neither a success or a failure. It’s just the way things are. Gordon Cheung’s Wysiwyg – a paper collage of electronic circuitry epitomized this, qualifying as a real, virtual landscape."
‘Fakescape’, Neal Brown, Frieze, no.55
Skyscraper, 2004 Gordon Cheung
Skyscraper, 2004 Gordon Cheung
"Cheung uses collage to create fantastic imaginary landscapes which combine decorative colour with the monochromatic materials associated with mass information systems – newsprint, share price listings and media photographs. This collision of media creates a clash between two opposing spaces – the physical space of the landscape and an abstract space of technology that is increasingly encroaching on the real."
‘PAINTING TODAY – A CAT AMONG THE PIGEONS’, Brian Müller – Curator of ARCO New Teriitories 05 and Editor/publisher of Contemporary Magazine, London, 2005
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Web Links
www.gordoncheung.com
The Independent - British Art Show 6 Preview
Financial Times Magazine Review
Art Monthly Review
Open Frequency - Selected by Yuen Fong Ling
Limited Edition Print
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