Sharon Lee Cheuk Wun: The Crack of Dawn

(1) 24 hours during 28.04 - 02.05.2020
(2) At variable times during 1 - 31.5.2020
Image Maker
Sharon LEE Cheuk Wun
Born in 1992 in Hong Kong, Sharon Lee Cheuk Wun obtained her BA in Fine Arts from the Chinese University of Hong Kong in 2016 and is currently an MFA degree candidate at the same university. In 2016, the Hong Kong gallery Lumenvisum awarded Lee the New Light Exhibition Scheme, and she debuted her solo exhibition The Presence of Absence at the gallery in 2017. Lee participated in several art residencies and group exhibitions in Germany and Taiwan in 2018, and in satellite exhibitions of the Hong Kong International Photo Festival 2018. She won the WMA Masters 2018/19 with her latest work The Crescent Void.
  • 1. Participants are reminded to wear surgical face mask during the opening process and related activities to the exhibition.
    2. Participants should keep the art space premises clean. Eating and drinking at the art space premises should be avoid in order to prevent possible infection.
    3. An infrared thermometer and hand sanitizer are provided for possible needs.
    4. If any participant have undertaken any travel outside Hong Kong, showing symptoms of COVID-19 and have related health history, have family members or flatmates (sharing the same residence) returning from overseas who are undergoing 14 days quarantine at the participant’s place, or have close contact with any persons suspected or confirmed to have contracted COVID-19, please avoid joining the opening or other related activity and the participant(s) should self-quarantine for 14 days.


In 2014, I became an outlander; when I was home again, I lost ‘ourselves’.


This loss became a crack between my peers and I. I tried to piece together the fainting landscape from our memories — a collective apparition of a time past. I became a flaneur of time, treading on these satellite maps and photographing a virtual Harcourt Road. Yet the fragmented street lamps only reminded me of the widening crack of our time and space. Today, this too shall not matter: a more expansive Harcourt Road now resides in all of us.


I ‘solarised’ the gelatin silver prints to project a nocturnal cityscape, blending a positive image with a negative. In darkness and gleam, I realise a window on Nathan Road, through which I mend the cracks in our memory, like a totem rooted in the present.


Through rephotograph, repetition and reposition, what was once touched by sunlight will only shine again.

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