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

“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

“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