Celebrity Life

Here's everything we're anticipating from Art Basel Hong Kong 2022 — the leading international art fair in the Asia-Pacific region.

Art Basel Hong Kong is back! We've rounded up everything you need to know about this year's staging, from leading galleries to curated projects, brand-new work from emerging artists and more.

Art Basel Hong Kong 2022

After last year's stellar staging, a hybrid show that combined the physical and virtual, Art Basel Hong Kong is returning to the Hong Kong Convention and Exhibition Centre for its 2022 edition.

Scheduled to take place from March 24 to 26, we're expecting a whopping 137 established and up-and-coming leading galleries from Hong Kong, the Asia Pacific and beyond — this is Asia’s biggest marketplace of modern and contemporary art after all.

Highlights include Rossi & Rossi’s survey presentation of Karachi born, London-based artist Rasheed Araeen (early portraiture drawings, minimalistic sculptures), new works by contemporary artists Zheng Guogu and Pak Sheung Chuen (presented by Vitamin Creative Space) and historical paintings by artist-activist Keith Harin.

We're also anticipating a special presentation by Proyectos Monclova that will see works by Eduardo Terrazas, Gabriel de la Mora, and Edgar Orlaineta — Mexican artists from different generations offering insight into the evolution of contemporary practices in the country.

This year's edition will also welcome 16 newcomers, including Lucie Chang Fine Arts and Mine Project from Hong Kong, Vin Gallery from Ho Chi Minh City, Galerie Mitterrand from Paris, Maia Contemporary from Mexico City, Jan Kaps from Cologne and Galería Cayón from Madrid among more "Discoveries".

And given the current international travel restrictions, Art Basel will again be offering "satellite booths" — a concept it successfully introduced last year: a clever way for exhibitors who are unable to come to Hong Kong to present their curated showcases on the ground in booths staffed by a local representative appointed by Art Basel.

82 galleries will use satellite booths, including long-time exhibitors Yumiko Chiba Associates from Tokyo, 47 Canal from New York, Carlos/Ishikawa from London, Esther Schipper from Berlin among others. International galleries Meyer Riegger (with spaces in Berlin and Karlsruhe) and Sies + Höke from Düsseldorf will participate with a special joint satellite booth.

The art fair's physical-digital hybrid format will include its Art Basel Live initiative: Online Viewing Rooms, virtual walkthroughs, social media broadcasts, and live-streamed conversations and lecture/performances.

What else? As the leading international art fair in the Asia-Pacific region, Art Basel's "Insights" project will see curated presentations of important artists from Asia and the Asia-Pacific. These include James T. Hong’s dual-channel landscape film, presented by Empty Gallery, that juxtaposes imagery of sites from the historical Opium Wars with contemporary footage of the South China Sea and Hong Kong’s skyline.

And "Discoveries", a section of solo shows by emerging artists, will feature 18 galleries, including first-time participants Maia Contemporary (presenting a new series of paintings and sculptures by Cisco Jiménez incorporating 'obsolete devices') and Catinca Tabacaru, showing works by Surinamese artist Xavier Robles de Medina.

In addition, to really emphasise Hong Kong's art community and local scene, Art Basel has partnered with notable institutions, non-profit organizations, and established and emerging artists — including the still-new M+ museum, Art Museum, The Chinese University of Hong Kong and the Hong Kong Museum of Art!

Without a doubt, Art Basel is the highlight of our city’s art month but what makes the fair so significant is its work to push boundaries and start conversations about representation, storytelling and community.

"The past year has been challenging but incredibly rewarding for Art Basel Hong Kong, as we work with our local and international communities and partners to develop a hybrid fair that continues to forge meaningful connections across Asia and the rest of the world," says Adeline Ooi, Director Asia at Art Basel.

"We are deeply moved by the commitment from galleries to present curated selections of art that further deepen our understanding of Asia from a global perspective."

Find out more.

The post Here’s What To Expect From Art Basel Hong Kong 2022 appeared first on Prestige Online - Hong Kong.

Model and artist Afa Lee is equally at home in front of a canvas or a camera. We meet her on set and at a gallery cafe, where we talk at length about solitude, Yayoi Kusama and Hieronymus Bosch 

Afa Lee talks with equal ease about Rembrandt and Dali as she does about Vuitton and Dior, just as she can expound at length about the odd parallels between Japanese Ukiyo-e art and that of the Baroque period, both of which began around the same time – in the late 17th century. We, for our part, offer polite nods that feign comprehension. Let’s start at the beginning.

Afa Lee, Model and Artist

Where did you study art? 

I didn’t study fine art but design. I have my BA Honours in Visual Communication from the Hong Kong Polytechnic University. I was an art director in an advertising agency for a few years after graduation, then I quit and became a full-time illustrator, then more recently a visual artist. 

Describe your art. 

When I try to explain my style of work to others, I say it’s kind of disturbing but with a candy coating. But when people describe my work, they see it as sweet, creepy and scary at the same time. Actually, there was a period when my work was much more explicit and unsettling. Like many artists, I’d gone through different stages and styles - but the themes I circumnavigated ended up being more or less the same: always about solitude, distance among people, our longing for connecting with each other, fear and all desires. I paint about feminism, too. I like to stare at all the undercurrents behind the veil.

Who are your favourite artists? 

I like Salvador Dalí, Hieronymus Bosch, Francis Bacon, Louise Bourgeois, Yayoi Kusama and Ukiyo-e art. They all inspire my work. I like art that expresses consciousness and the deep fear of humanity by way of distorted human forms. 

If you could go to any gallery anywhere, where would we find you? 

My favourite galleries are the Uffizi in Florence, the Saatchi Gallery and Tate Modern in London, and The Power Station of Art in Shanghai. And it’s always been on my bucket list to visit the Salvador Dalí Museum in Barcelona.

What challenges do you face as an artist in a commercial city like Hong Kong? 

It’s said that Hong Kong is a place for trading in art but not art itself. I’d have agreed with that in the past, but no longer. Commercial, short-sighted, money-minded, lack of cultural vibes are easy and lazy expressions carried over from the past, but they don’t reflect contemporary Hong Kong – the vibe in recent years has changed completely. People here have started to realise the importance of humanity in a city, and are thus starting to appreciate art and culture as a means of recording and healing. All the shocks or difficult times that we’ve experienced have nurtured and provided content for our creations.

Art units, collectors and even auction houses have started looking out for Hong Kong talent, which is a huge encouragement to local artists. I’m happy that I’ve been an in-house artist with JPS Gallery since last year. It’s a new space, but they’re energetic and aggressive and, most importantly, they have the vision to promote and support Hong Kong artists, which I appreciate a lot. The best way to support artists in Hong Kong is to help us make a living, so we can continue to create. I know I’m lucky, I can live on my art and keep doing what I want to do.

What’s been the oddest request you’ve had to paint? 

Someone I hated very much once asked me to draw him in the form of Yokai Monsters [a late-’60s trilogy of Japanese horror and fantasy films written by Tetsuro Yoshida]. Back in those days, I kept drawing my friends in the form of monsters, based on their personalities and characteristics. And I showed that work in an exhibition. For some reason, I couldn’t refuse his request but it was really hard for me to draw someone I had no feelings at all for – it was like lying to myself. I felt that work was so insincere, so fake. I hated it. It was terrible, full of hesitation and guilt. Eventually, I found some excuse and didn’t show it in my exhibition.

Who’s your ideal buyer? 

Tony Leung [bursts out laughing], because he visited our booth at Art Central in May earlier this year, but he left five minutes before I arrived, so I missed him. I hope one day he can collect one of my pieces because he’s been my idol for so many years.

What are you working on, and what’s coming up next for you? 

I’ve been quite busy this year. Soon after my solo exhibition in December last year, I joined two group shows at Belowground, Landmark – co-presented by Belowground and JPS Gallery – and also Art Central in May. I’m currently preparing for my solo show, which will take place in Tokyo at the end of the year.  

Where can we see or buy your work?  

To see my work, you can simply search my Instagram account (@afa_annfa) or my website. People who want to buy my art can contact JPS Gallery. And if we can all travel again soon, my first solo exhibition in Japan is in the works. Here’s hoping for a better 2022.

The post Body of Work: Model and Artist Afa Lee “Afa Annfa” on Her Art, Solitude and Yayoi Kusama appeared first on Prestige Online - Hong Kong.

The Ze/Ro exhibition at Ben Brown Fine Arts is sparked by the idea of an increasingly gender-neutral world.

The curator (an artist herself) Shirky Chan tells us about the Hong Kong women artists featured in the show, whose works explore ideas of femineity and empowerment.

When the Hong Kong Art Gallery Association issued an open call for a potential project for its Summer Programme (which connects member galleries with emerging local artists, curators and art writers), Shirky Chan – herself an artist and curator – answered with a proposal centring on women and gender equality. Chan's idea was to bring together female artists from different generations to explore empowerment, their place within and outside of society, their desired dissolutions of gender, as well as each artist’s unique creative vision.

The association was impressed with her idea and she was invited to visit Ben Brown Fine Arts’ space at The Factory in Wong Chuk Hang, after which she began to approach women artists about being part of the show.

The result is Ze/Ro, which is showing at the gallery until August 26. A showcase of the works of five local women artists, its title is inspired by the use of the gender-neutral pronoun “ze”, rather than “he” or “she”; thus, in place of the apparent male bias in the word “hero”, Chan suggests the non-gender alternative ze/ro.

Of the five artists in the exhibition, Chan Ka Kiu is the youngest and also the only out lesbian – her work is described by Shirky Chan as “post-90s”.

“I think society is more aware of discrimination and gender is not really a restriction or burden to her. Her works are more carefree. That’s why I wanted to choose cross-generational artists in the same show.”

Ka Kiu was around eight years old when she and a friend were both diagnosed with a bone tumour – tragically, her friend died after the tumour became cancerous. Ka Kiu’s tumour has stayed with her all these years, closely monitored through many trips to the hospital.

“The fear of death,” says the artist, “came to me at a very young age.”

The show features four pieces from her series A List of Things to Bring to Paradise. “These are some little things I think are important for my life right now,” says Ka Kiu. “Maybe I’ll go to hell, maybe I’ll make another series.”

Love, Name of a Bird is a headless flapping wooden bird sculpture suspended from the ceiling, pressed against patterned glass and basking in pink-yellow lighting (“like a sunset, like paradise.”). Ka Kiu says this piece is about the first life she took away, a bird that died after it hit her studio window. She heard a large bang in the night and found its body the next morning. “So this bird,” she says about her work, “will never die.”

Her favourite self-created piece is I Wanna Be Your Dog – inflatable dogs with “fragile” stickers attached. “I think everyone has this moment where you just want to be a pet with a nice owner,” she says. And the sticker? “I wanted to stick this label on myself – fragile!”

Ants, in pencil on paper, depicts minuscule hand-drawn insects. “I had to sharpen the pencil constantly. I think ants are a little, tedious, mundane annoyance, so it’s one thing I’d like to bring to paradise. Paradise will be peaceful and just happiness 24/7, so I want to bring something annoying, something not too horrible.”

Ka Kiu’s other featured work is the first thing you see when you walk into the exhibition – an acrylic disinfection box filled with cleaning supplies perched on a metal shelf, that guests can become part of by placing their hands into glove inserts. Titled Pamper Day, the piece reflects handling toxins, things that are contagious – and how we might feel that there are similar things inside ourselves: “I hope when we think something is bad inside, we take a pamper day and take care of it,” she says.

Like Ka Kiu, the artist Christy Chow also has coloured light on her work. Her piece Baby #1 concerns the first of her two miscarriages. “Of course, I was very sad,” she says. “I suddenly realised, ‘I don’t know who I can talk to,’ because this isn’t a topic that people love to talk about – it’s different from your relative or friends passing away. There’s a funeral, there are formal things you can do to grieve. With a miscarriage, there’s basically no grieving at all.”

The piece is in wool – pinched and rolled and unrolled with water and cleaning detergent – pinned on to silk. “It was very labour-intensive and took me about two weeks. I liked the labour – it was like a meditation, the repetition – it was actually the way I grieved,” Chow says.

The last image she saw of her baby was a black-and-white ultrasound. “I don’t think that their life should be that sad, so I tried to give them colour, vivid colour, but matching the same hues of the black and white,” she says.

Chow’s other piece comes from her Disaster series, which is centred on the female body – Chow aims to talk about real bodies and not the “bodies you see in magazines and ads: perfect and hairless”.

“Everything is so natural about the body – menstruation, urine, breastmilk. No one wants to talk about it, but it’s so natural. It’s almost like when you don’t talk about a disaster. It happens in our world – it’s natural.”

Her work Flood, in embroidery on vinyl, shows a woman (“like a goddess, like a Mother Earth”) relaxed on waves, with liquid pouring out from her. This is Chow's way of talking about bodies when society doesn’t want to: “If women don’t talk about it, then who will?” she asks.

Further into the exhibit are two video works by Jess Lau, both of which feature her own hands. Drowning, a fixed stop-motion animation on a projector, consists of a drawing of her right hand, erased and redrawn until the paper wore out. Animators act like a god of their animation, controlling its plot and timing, but Lau says she wanted to loosen her “power” and let ‘time’ decide when the animation would end: when the paper was too worn out to be drawn on again.

Her other work, Handnote, is a video poem made of three parts: a stop-motion animation of her hand, black-and-white film photos she took and a series of women’s hands she found in old Hong Kong advertisements. It’s a collage of sorts displayed on a small television set, which, says Lau, gives the video a special texture that connects different women from different times.

According to the show’s curator, Lau’s pieces focus on the most intimate part of her body, the hands. “She’s using her body, the external, to guide or lead to her inner feelings as to what a woman should be.”

Jaffa Lam and Au Hoi Lam are the two oldest artists featured in Ze/Ro, whose works conform to more traditional fine-art media, says Chan. Jaffa is a sculptor, which the curator says is significant as there’s an assumption that female artists can’t – or won’t – undertake laborious work. But for Jaffa, the wooden medium is no restriction.

Lady/Tree in Travel represents Jaffa herself: it’s the same height, width and weight as she is. The sculpture is made of reworked wood and is displayed in the middle of an open crate – in the past when Jaffa had overseas exhibitions she couldn’t attend, she'd send the tree in her place. On the trunk, three Chinese characters say her name, “work” and “wood”.

As a single unmarried woman without children, Jaffa has fantasised about being pregnant at some stage. Oval Chair is made of an old chair frame, stainless steel and recycled crate wood. Seen from afar, it resembles a throne, with a regal air of elegance (“the way pregnant women should be treated,” says Chan). As you approach it, the rounded red-ball shape looks akin to a swollen pregnant stomach. It’s also a reference to Jaffas candies, sweet and warm, even as the cold stainless steel works against that suggestion.

Coloured with mercurochrome, a compound formerly used as an anaesthetic and dye that's no longer sold because of its high mercury content, Red Balloon is Jaffa’s favourite piece. “A balloon should be soft and fragile, just like women are supposed to be, but actually we’re hard and solid and strong,” says Chan.

Au Hoi Lam’s acrylic paintings on canvas were made 18 years ago. At the time, she’d just completed her master of fine art degree and was experiencing some uncertainty about her future. “The works capture my authentic self at that time,” she says.

Titled Memo, Pink and Blue and The Cradle, the pieces are described by the artist as “transforming inner turbulence through the act of painting, and realising a better state of being”.

Memo and Pink and Blue feature etchings in pencil and ballpen on canvas or linen. According to Chan, they’re “something like a secret code, like diary entries scribbled on canvas. She wants to express but not express at the same time; to let people know what she’s feeling but keep some secrets to herself.”

"Ze/Ro" is showing at Ben Brown Fine Arts, Unit 202, The Factory, 1 Yip Fat Street, Wong Chuk Hang until 26 August. You can find out more here.

The post Dissolutions of Gender: Ze/Ro Exhibition at Ben Brown Fine Arts appeared first on Prestige Online - Hong Kong.

There’s no doubt Alex Lam inherited his musical talent from his parents, his father being Cantopop legend George Lam Chi-Cheung, and his mother, Sally Yeh. Still, the singer-songwriter and actor hasn’t let privilege get to his head — he’s not afraid to explore other paths, from a stint in Los Angeles to discover yoga and becoming a yoga teacher, to dipping his toes in fashion.

Lam met Hiro Yoshikawa, founder and designer of Washi Jeans, a Japanese denim brand, a couple years back and was intrigued by the designer’s backstory. Now based in Hong Kong, Yoshikawa is the 18^th generation of a revered sake maker in Okayama, Japan, and the first to leave the family business to pursue his own passion in denim-making. By chance, Yoshikawa had found an old document that charted out his family’s history, written on washi paper. Inspired by this, he developed and patented the Washi No. 6 paper yarn, which he utilizes in his first solo collection launching this month.

Lam, who has always had an eye for detail, quickly became an ambassador and muse for Yoshikawa, and took it upon himself to bring the recognition Yoshikawa deserves by helping him stage his upcoming solo debut.

We sit down with Alex Lam and Hiro Yoshikawa at Washi Jean's studio to talk about style and the upcoming debut of Yoshikawa's solo collection Life on Earth.

Can you describe your style? What are your wardrobe essentials?

AL: My style has always been inspired by musicians. I grew up watching some of my favourite bands like The Rolling Stones, The Beatles, and today, I'm inspired by singers like Drake. For me, my summer essentials include a sleeveless vest, a good multi-functional blazer and a pair of high-quality designer jeans.

Have you always been passionate about fashion and did you want to work in fashion?

AL: I have always cared about how I look and my outfits since I was a kid. I remember there was one time when the collar of my t-shirt wasn't right and I wouldn’t wear it out until my parents fixed it for me. Having friends who are in the fashion industry allows me to execute and experiment my ideas during workshops, like the ‘marshmallow’ colourway of the t-shirt I’m wearing right now. 

How did the both of you meet?

AL: I met Hiro-san thought some of our mutual friends.

HY: have been making jeans for other brands for the past 30 years and it has always been my dream to have my own denim brand. I have always hung out with people from the fashion industry, and meeting Alex from the music and acting world has made my life more fun and exciting.

Can you tell us a bit about your project with Hiro-san?

AL: I was hanging out with a group of producers and we often talk about fashion shows, designer brands’ videos, installation art and music. Once we found out Hiro-san wanted to launch his own denim brand this year, we decided to catch this opportunity and put our ideas together. We are organising a VIP launch event with a fashion show on June 11, 2021.

What was the biggest challenge you had to overcome with this project?

AL: I think the rules of the game changed after Covid started last year. We looked at online fashion shows last year, without the tradition styles, and we knew our team needed to do it in a cleverer way. The restriction for event gathering is 30 persons at the moment, so we were not able to invite too many friends and make the event as big as before. Plus the campaign and fashion show video shoot all in one day, that’s the biggest challenge in this project.

HY:  We have been staying in our studio almost every day is the past few months, meeting different parties like our PR team, models, videographers and producers.

What else are you up to this year that you can share with us?

AL: I have released a new song and I just finished a music video for another song. I have also been working on my YouTube channel and created a few series, but it’s been slightly slowed down because I was focusing in this project.

Has the pandemic affected the way you work or changed your priorities?

AL: Before Covid, I was busy working with clients, who often prepared everything. With changes and restrictions during this period, I am able to organise and create more content by myself.

What are you currently inspired by?

AL: There are many indie musicians and young kids out there who are doing their music in their unique styles. I admire them a lot as they can release songs as long as they think it sounds good. I used think good music requires the best studio and recording equipment, but turned out a lot of indie musicians are producing high quality songs just by working at home.

You have a YouTube channel, you're into fashion, music as well as classic cars. How did you get into each of those passions and how do you balance it all?

AL: Project by project. I’m now focusing more on quantity over quality and I'll keep learning from the progress and mistakes.

Do you have a motto you live by?

Stay healthy. As I was a yoga teacher, I still practice yoga for two to three hours each day. It’s a good way to reflect on myself and find peace.

The post Discover an Instagram Worthy Art-inspired Journey at K11 Musea’s Art Karnival appeared first on Prestige Online - Hong Kong.

There’s no doubt Alex Lam inherited his musical talent from his parents, his father being Cantopop legend George Lam Chi-Cheung, and his mother, Sally Yeh. Still, the singer-songwriter and actor hasn’t let privilege get to his head — he’s not afraid to explore other paths, from a stint in Los Angeles to discover yoga and becoming a yoga teacher, to dipping his toes in fashion.

Lam met Hiro Yoshikawa, founder and designer of Washi Jeans, a Japanese denim brand, a couple years back and was intrigued by the designer’s backstory. Now based in Hong Kong, Yoshikawa is the 18^th generation of a revered sake maker in Okayama, Japan, and the first to leave the family business to pursue his own passion in denim-making. By chance, Yoshikawa had found an old document that charted out his family’s history, written on washi paper. Inspired by this, he developed and patented the Washi No. 6 paper yarn, which he utilizes in his first solo collection launching this month.

Lam, who has always had an eye for detail, quickly became an ambassador and muse for Yoshikawa, and took it upon himself to bring the recognition Yoshikawa deserves by helping him stage his upcoming solo debut.

We sit down with Alex Lam and Hiro Yoshikawa at Washi Jean's studio to talk about style and the upcoming debut of Yoshikawa's solo collection Life on Earth.

Can you describe your style? What are your wardrobe essentials?

AL: My style has always been inspired by musicians. I grew up watching some of my favourite bands like The Rolling Stones, The Beatles, and today, I'm inspired by singers like Drake. For me, my summer essentials include a sleeveless vest, a good multi-functional blazer and a pair of high-quality designer jeans.

Have you always been passionate about fashion and did you want to work in fashion?

AL: I have always cared about how I look and my outfits since I was a kid. I remember there was one time when the collar of my t-shirt wasn't right and I wouldn’t wear it out until my parents fixed it for me. Having friends who are in the fashion industry allows me to execute and experiment my ideas during workshops, like the ‘marshmallow’ colourway of the t-shirt I’m wearing right now. 

How did the both of you meet?

AL: I met Hiro-san thought some of our mutual friends.

HY: have been making jeans for other brands for the past 30 years and it has always been my dream to have my own denim brand. I have always hung out with people from the fashion industry, and meeting Alex from the music and acting world has made my life more fun and exciting.

Can you tell us a bit about your project with Hiro-san?

AL: I was hanging out with a group of producers and we often talk about fashion shows, designer brands’ videos, installation art and music. Once we found out Hiro-san wanted to launch his own denim brand this year, we decided to catch this opportunity and put our ideas together. We are organising a VIP launch event with a fashion show on June 11, 2021.

What was the biggest challenge you had to overcome with this project?

AL: I think the rules of the game changed after Covid started last year. We looked at online fashion shows last year, without the tradition styles, and we knew our team needed to do it in a cleverer way. The restriction for event gathering is 30 persons at the moment, so we were not able to invite too many friends and make the event as big as before. Plus the campaign and fashion show video shoot all in one day, that’s the biggest challenge in this project.

HY:  We have been staying in our studio almost every day is the past few months, meeting different parties like our PR team, models, videographers and producers.

What else are you up to this year that you can share with us?

AL: I have released a new song and I just finished a music video for another song. I have also been working on my YouTube channel and created a few series, but it’s been slightly slowed down because I was focusing in this project.

Has the pandemic affected the way you work or changed your priorities?

AL: Before Covid, I was busy working with clients, who often prepared everything. With changes and restrictions during this period, I am able to organise and create more content by myself.

What are you currently inspired by?

AL: There are many indie musicians and young kids out there who are doing their music in their unique styles. I admire them a lot as they can release songs as long as they think it sounds good. I used think good music requires the best studio and recording equipment, but turned out a lot of indie musicians are producing high quality songs just by working at home.

You have a YouTube channel, you're into fashion, music as well as classic cars. How did you get into each of those passions and how do you balance it all?

AL: Project by project. I’m now focusing more on quantity over quality and I'll keep learning from the progress and mistakes.

Do you have a motto you live by?

Stay healthy. As I was a yoga teacher, I still practice yoga for two to three hours each day. It’s a good way to reflect on myself and find peace.

The post Ying Kwok Takes us Through a Year of Exhibitions, Highlighting the Priceless Role of a Curator appeared first on Prestige Online - Hong Kong.

Luxury hospitality architect-designer Andre Fu takes us on a tour of his 2,500 sq ft duplex apartment in Hong Kong.

The post Luxury homes: Celebrated designer Andre Fu’s duplex apartment with a 360 degree ocean view appeared first on The Peak Magazine.

Luxury hospitality architect-designer Andre Fu takes us on a tour of his 2,500 sq ft duplex apartment in Hong Kong.

For more stories like this, visit www.thepeakmagazine.com.sg.

Liberal-minded Hong Kong is drawing a growing arts audience locally and internationally even as Beijing restrictions loom.

The post Art in Hong Kong: Asia’s cultural capital? appeared first on The Peak Magazine.

Liberal-minded Hong Kong is drawing a growing arts audience locally and internationally even as Beijing restrictions loom.

For more stories like this, visit www.thepeakmagazine.com.sg.

At last month’s opening of his New Paintings exhibition at London’s Saatchi Gallery, British artist and fashion designer Philip Colbert talked branding, Trump and surrealist lobsters.

The post Meet the Fashion World’s Favourite Artist appeared first on Prestige Online - Hong Kong.