Johnson Tsang

Johnson Tsang’s sculptures capture the surreal freedom of his own personal dreamworld, along with his thoughtful and uninhibited perspective on the world that we share.

In Tsang’s sculptures, the hyperreal and the illusionary sit side by side. Their porcelain white finish has a clean, classic aesthetic that is set against the uncanny and grotesque scenarios that they depict: a human face twisted like a wet towel; a fed up newborn trapped inside a birdcage; or stacks of human heads squashed inside glass cabinets. Half cherub, half Buddha, Tsang’s bulbous figures always have a profound (and often amusing) fleshiness.

Select Achievements
  • Work in collections inc. Hong Kong Museum of Art and the Yingge Ceramics Museum of Taiwan
  • Solo show, Little World, Beinart Gallery, Brunswick, 2019
  • Solo show, Along With Clay, at Giant Year Gallery, Hong Kong, 2018
  • Solo show, Living Clay, at Taiwan Yingge Ceramics Museum, 2013-2014
  • Recipient of the Special Prize of Korea Gyeonggi and the Grand Prix at the International Ceramix Biennale, Gyeonggi, 2011 & 2012

The expressions of the characters he creates are wholly convincing, and freeze extreme moments of pain, frustration, joy, and love. While Tsang’s work recalls aesthetics from across art history, such as Chinese ceramics and Neo-classical sculpture, the self-taught artist predominantly draws from personal experience and his intense, bizarre dreams. In his waking life, these are, through immense skill and long studio hours, co-opted into a strange elegance that is both enticing and unsettling.

“It has become a hobby to discover the goodness in everything”

Throughout Tsang’s practice, dark undertones linger. His tragic sense of humour surfaces in political satire that is sporadically dotted throughout his oeuvre, including a figurine of Donald Trump and a pile of baby heads clustered on top of a Chinese flag. Security Summit (2015), is a particularly potent work. Seven, tiny porcelain babies sit in a circle, laughing, pointing and ridiculing one naked baby in the middle, a cherub. The figures around the edge are dressed in army uniforms, casually holding machine guns, while the humiliated cherub holds a measly bow and arrow. The explicit cruelty in the scene and stark inequality of power, along with the darkly humorous image of babies with machine guns, criticises the political notion of ‘security’ itself, and undermines those who hold the power to act in its name. Thus, the work confronts military power, state-sponsored violence and acts of aggression perpetrated throughout history and today, in order to maintain stability for certain groups, nations or political elites at, more often than not, the great expense of others.

“Creativity is like a playground or game without rules"

“Imagine Nation” is the name Tsang gives to his world of lucid dreaming. Tsang values this dreamworld as much as our collective physical reality. In his sleep, he travels through time and space, meeting his heroes, and, most importantly, creating art without material limit. In fact, many of his works are replicas of visions from his dreams. For this reason, he often feels that he is an intermediary, channelling ideas brought to him by a force outside his own individual consciousness. Thus, Tsang’s perspective speaks, not necessarily to some god-like being, but instead to the human capacity for creativity: creativity that is embedded in both external reality, and the internal subconscious. Tsang’s delicate and unusual work has a powerful ability to distill complex subjects, thoughts and emotions into calm, yet arresting beauty.

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