Antique Kimono Cushion Cover - AK03

A boxed set of 4 fine bone china sinner plates by Cary Kwok (edition of 30)

Cary Kwok is a London and Beijing based artist well know for his exquisite ballpoint pen drawings. Born in 1975 and raised in Hong Kong, he moved to London to further his studies in the mid 90s spending six years at Central Saint Martins College of Art and Design studying fashion at BA and MA levels. A fascination with fashion, period costumes, footwear and sexuality forms the nucleus of Kwok’s subject matter; the diversity of styles and street fashion of London, as well as period films, also influence him greatly. Subjects range from explicit male nudes to period portraits and still life.

And hairstyles and shoes are among his favoured subjects with work often subtly alluding to issues of race, ethnicity, culture, gender and sexual equality. Cary is represented by Herald St Gallery in London and has exhibited internationally in London, New York, Miami, Tokyo, Geneva and Zurich, including shows at Galerie Emanuel Perrotin, Miami; Attention to Detail curated by Chuck Close at FLAG Art Foundation, New York; Rude Britannia at the Tate Britain, London; Taro Nasu, Tokyo and Hauser & Wirth, Zurich.

Faux is delighted to present a unique collection of limited edition Lightboxes by Jayne Dyer

Jayne Dyer is an Australian artist based in Lisbon, Portugal and Sydney, Australia.

My international practice is hybrid, interdisciplinary and socially engaged, and address identity and otherness, particularly in reference to what we culturally and socially valued. Projects are site-specific, collaborative, and increasingly performative.

Two key projects are planned for 2019: This Savage Garden, a series of installations conceived for Adaption & Transition, Bienal do Fotografia, Porto, Portugal, to be exhibited at Palacio de Cristal Jardim; and Art Politic, to be developed at DMZ (Demilitarized Zone) & JSA (Joint Security Area), and exhibited at Suwon Museum of Art, South Korea. These continue my focus on social and environmental states of change and crisis and insinuate a fragile interiority.

Exhibition highlights include the Triennial of Photography, Hamburg, Germany (2018); Foreigners, Bury Art Museum & Sculpture Centre, UK (2017); Tell me something, 2016 Colombo Art Biennale, Sri Lanka; Last Things, Bury Art Museum & Sculpture Centre, UK (2016) in collaboration with British artist Wayne Warren; Sharpness, Anna Pappas Gallery, Australia (2016); It’s closing time for gardens of the West, Palazzo Mora, 2015 Venice Biennale, with Wayne Warren; Ger to Ger, Mongolia National Art Gallery, Ulaanbaatar, Mongolia (2013); Unbound, Macquarie University Gallery, Sydney, Australia (2013); The protest that never ends, ARTISTERIUM 5, Tbilisi, Georgia (2012); URS27, Taipei City Urban Redevelopment initiative, Taiwan; Spill, Kuandu Museum of Fine Arts, Taipei, Taiwan (2011); postEDEN, Today Art Museum, Beijing, China (2010); The Recycled Library, Art Space, Mackay, Australia (2009); Spare Room, Elizabeth Bay House Museum, Sydney, Australia (2007).

In 2013 I received the inaugural Individual Artist Award from Australian Federal Government for arts achievements in Asia and in 2005 a Commonwealth of Australia public service medal for contributions to arts and education. Arts agencies including the Australia Council for the Arts, Asialink Australia, DFAT, Fubon Art Foundation, Taipei Culture Foundation, the Sovereign Art Foundation, Hong Kong and the Australian High Commission, Sri Lanka, have funded major projects and residencies.

Jayne Dyer undertakes large scale public and corporate commissions such as K11 Hong Kong; Four Seasons, Beijing; Crown Properties in Perth, Melbourne, and Manila; Marriott Manila Grand Ballroom; Swire East & City Plaza, Hong Kong; Modi Residency, New Delhi.

A boxed set of 4 fine bone china sinner plates by Firenze Lai (edition of 30)

Firenze Lai says that she knows her studio of a few hundred square feet intimately; from the textures of its surfaces to the way the breeze blows into the room. The spaces depicted in her paintings are equally intimate. When curators seem to be at a loss for words to discuss troubled times, fear of containment, and the feeling of being completely enmeshed in a space, they turn to Lai's paintings, which have been shown as part of Para Site's A Journal of the Plague Year. Fear, ghosts, rebels. SARS, Leslie and the Hong Kong story (17 May–20 July 2013), and A Hundred Years of Shame—Songs of Resistance and Scenarios for Chinese Nations (6 March–17 May 2015). Further, Lai has shown work in international solo and group presentations, including Turbulence at Mirrored Gardens in Guangzhou (29 October–28 November 2015), the 10th Shanghai Biennale, Social Factory (23 November 2014–31 March 2015), the 2015 New Museum Triennial, Surround Audience (25 February–24 May 2015), and in Venice for the 57th Venice Biennale (13 May–26 November 2017). More recently, a selection of nine of Lai's paintings appear in Tai Kwun Contemporary's Contagious Cities: Far Away, Too Close (26 January–21 April 2019).

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Faux is delighted to present a unique collection of limited edition Lightboxes by Hu Qinwu

Hu Qinwu (born 1969) was born in Shandong, China, and currently works in Beijing as a painter, photographer and printmaker.

Qinwu studied oil painting at the Yantai Normal Academy, Shandong where he graduated in 1990. He went onto attain a Masters degree in Painting from the Central Academy of Fine Arts, Beijing in 2008. In 2010 Qinwu taught as a guest lecturer at the Central Academy of Fine Art in Beijing.[2] Qinwu's choice of materials for his paintings align with the scholarly tradition of Chinese ink painting. However, Qinwu subverts the traditions of the medium through a style that aligns more closely with the aestheticisms of the Abstract movement. The concept behind his style and technique, however, is informed by Zen Buddhist philosophies and practices. Critics have noted that Qinwu's command of ink, tempera, acrylic, oil and print media signals the germination of an exciting new approach to traditional techniques and the burgeoning of an abstract style amongst a young generation of artists in Beijing.

A boxed set of 4 fine bone china sinner plates by Lulu Ngie (edition of 30 )

Lulu Ngie focuses on Chinese ink painting and prefers to use simple lines and forms in her figurative works. She also works in oil and watercolour. Today, her ink work is gaining much interest both at home and overseas and is perceived as a potent tool that raises questions about the role of Chinese and East Asian traditions in contemporary art, especially when global events such as art fairs are pushing this medium towards a more homogeneous aesthetic. Majoring in painting, Lulu Ngie, graduated from Hong Kong Art School in 2006.

Lam Wai Kit is interested in the relationship between individuals and their surrounding circumstances reconstructing images and daily experiences in order to search for the notion and representation of identity. Her mug depicts images of Ravenna and Hong Kong and is entitled Divided Minds 44. Kit studied at CUHK and Goldsmiths, London and works in Hong Kong in the medium of photography, video art and sound. Showing internationally, she has taken up residencies in Norway, Portugal, Spain and Germany.

Angela Su received a degree in biochemistry in Canada before pursuing visual arts. Su’s works investigate the perception and imagery of the body, through metamorphosis, hybridity and transformation. Her pseudo-scientific drawings often combine the precision of scientific sketches with a mythical aesthetics, challenging the audience’s visual sensation of the pleasure of pain. Her research-based projects include drawing, video, performative and installation works that focus on the interrelations between our state of being and scientific technology.

In 2002, Su had her first solo exhibition “De Humani Corporis Fabrica” at Goethe-Institut Hong Kong. In 2019, Su was commissioned by Wellcome Trust to present a commission project in “Contagious Cities: Far Away, Too Close” at Tai Kwun, Hong Kong. She has also participated in group exhibitions including “Time Test: International Video Art Research Exhibition” (CAFA Art Museum, China, 2016); “17^th Biennale of Sydney” (Museum of Contemporary Art, Australia, 2010); “Hong Kong Eye” (Saatchi Gallery, UK, 2012); “Departure” (He Xiangning Art Museum, China, 2009); “Reversing Horizons” (Museum of Contemporary Art, China, 2007); and “The 2^nd Shenzhen Biennale of Architecture and Urbanism” (OCT Shenzhen, China, 2007). In 2013, she published an artist novel Berty, and in 2017, a science fiction anthology Dark Fluid where she uses sci-fi as a method for social critique.  Her work is collected by M+ (Hong Kong) and CAFA Art Museum (China).

Unframed 60x60cm Artist: Gao Pingn

Gao Ping is a traditionalist in a contemporary world.  She has avidly studied Chinese traditional painting and much of her inspiration is drawn from her knowledge of those techniques and the Masters of those times. She uses these techniques with expert precision to create inner conversations and the results are contemporary paintings heavy with emotion. An introvert who battles with the fast pace of the city, she uses painting as her means of escape and communication.  Much of her work seeks to bring still and calm, much of it is a journey to a less frenetic environment. Her abstract works take her away from daily noise and her ink studies are more reflective and nostalgic of her childhood and the scenes she sees around her in daily life. She is a well exhibited artist with international recognition and has been featured in “Half the Sky”, a book by Luise Guest, Manager of Research at the acclaimed White Rabbit Collection in Australia.