Atlas Lustra (After O'Keefe) : Part X, 2024

Born Hong Kong, 1981 BA Philosophy, King's College, London, 2001 Lives and work between Berlin, London and Hong Kong By examining points of cross-cultural coalescence between Eastern and Western philosophical canons, Joseph Tong introduces visual narratives that debate, dissect, and evaluate how these belief systems interrelate within a contemporary ideological context. Furthermore, the artist explores spheres of concurrence between specific theological principles and mythological dogmas by investigating their binaries and dichotomies within his oeuvre.

As a visual linguist and a Perceptionist, Tong eschews the notion of a signature style. He challenges the concept of the passive viewer by inviting questions of medium and materiality through a multidisciplinary and experimental approach, incorporating elements of oil and ink painting, photography, sculpture, and site-specific installations. The materials utilised are as significant as the conceptual underpinnings of his works; new perceptible interpretations are created by synthesising highly aestheticised components such as structured Plexiglas, aluminium, brass, dichroic film, wool, and calligraphy paper. By advancing a body of work with a dynamic visual vocabulary that blends digital treatments with analog craft, the artist confronts the nature of optical perception and the idea of hypothetical | reality through experiential representation. Simultaneously, Tong researches the potential of digital image manipulation processes in cross-media applications and the development of new materialities.

What draws us to Atlas Lustra (After O’Keeffe) is its sensitivity to scale and perception. Through the layered interplay of oil and wax pastels with UV ink on aluminium, the surface holds traces of both gesture and structure, where analog mark-making meets digitally drafted form. The work feels expansive yet intimate, shaped by close looking while gesturing toward something immeasurable. It resists fixed interpretation, inviting viewers to dwell within the quiet tension between abstraction and recognition, and to sense nature not as image, but as presence.

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