Cheung currently lives and works in Beijing. She obtained a master's degree from The Slade School of Fine Art in 2015 and a bachelor's degree from The Glasgow School of Art in 2012.
Cheung’s artwork is inspired by the urban space we live in and related to psychogeography. She expresses the perception of individuals and the environment by observing various social activities and explores its implicit cultural characteristics. Her paintings and monoprints often use vivid colors and unique perspectives to describe the aura, meanwhile, revealing the inner psychological level of the group or individual.
Recent Solo exhibitions: Spiral Voyage, Soka Art, Beijing, 2023; Placing Items from The Epidemic Period in Adai’s Studio, MAMALA Online Project, 2021; Illumination, Jining Art Museum, Jining, 2020; Psychogeography, In-Definite Scenario Art Space, Beijing, 2019; Drawing Room, Art Novo 100 Project Space,Guardian Art Centre, Beijing, 2019; Aurae, Yiiie Gallery, Chengdu, 2019.
Selected group exhibitions: The Past Is A Foreign Country, Space & Gallery Association, Shanghai 2023; The Museum of Innocence, Bao Room, Shanghai 2023; Bread, Succulent and White Conch, HONIN Art Center, Cheungdu 2023; Persistent Transients, Qimu Space, Beijing 2023; Half The Sky; The Sky Is The Limit, Shout Contemporary, Hong Kong 2022; An Extraordinary Adventure, Rosenfeld Gallery, London, 2022; Interdependency, Art Museum of Chengdu University, Cheungdu, 2021.
- Likes
- 25113
- Views
- 3545232
- Followers
- 100
- Following
- 5
I wanted to capture the precise moment when the external world becomes an internal feeling. I am drawn to public spaces—riverbanks, parks, walkways—where people gather in silence to witness the seasons changing. There is a specific kind of communal loneliness in these places that I find incredibly beautiful.
I painted the water and the sky with a rhythmic, horizontal brushwork to suggest a slow, steady pulse of time, while the cherry blossoms in the background are treated as a soft, vibrating cloud of color. The figures on the pier are intentionally anonymous; they are markers of human presence in a landscape that feels increasingly vast and liquid. I wanted the ripples in the foreground to feel like the only tangible thing in the frame—a small disruption in an otherwise perfect stillness. For me, this painting isn't just about a spring day; it's about the fragility of our experiences and the way we drift through beauty without ever quite being able to hold onto it. I hope the viewer feels the cool air from the water and the heavy, sweet scent of the pink light.