Kateřina Ondrušková's first solo exhibition for Double Q, Blue-Green Eyes, presents the latest series of paintings created during 2024. The title of the exhibition itself evokes the duality of perception - blue as the colour of inner melancholy and restless reflection, green as a symbol of life, all-encompassing nature and organically controlled cycle. These two positions are the way through which the painter has long viewed the world. This duality then resonates not only in the colour palette and techniques she uses, but also in the emotional and conceptual layers of her work, which links nature and her personal feel of the world. Contemplative exploration of nature, memories and human emotions has long been inherent in her work. 

Opening reception: 3-6pm

Gallery address: 68 Lok Ku Road, Sheung Wan

Exuberant colours, cadent sounds and dazzling lights manifest as an immersive environment. Retaining only the placebo of planarity, striking neon tones, gestural brush strokes and layered surfaces combine into mixed-media compositions. These deconstructed picture planes transcend the objecthood of artworks with the simplest of gestures: visible and audible wavelengths embrace the paintings, reverberate in unison and collide in the spectatorial perception. Citing his exhibition Techno Zen at the 60th Venice Biennale, Nemes continues to dissect sound frequencies into low, mid and high ranges, while dividing light information from the visible spectrum into three interwoven realms. Nemes, fascinated by pink not existing on the visible spectrum but resulting from the brain mixing colours, indirectly points to the subjective nature of perception and the brain’s role in constructing realities, highlighting reciprocity between physical phenomena and cognitive interpretation. Inspired by techno music and rave culture, Nemes explores sensory experiences through art.

Gallery address: 68 Lok Ku Road, Sheung Wan

In a liminal space amid “primitive” experiences and erudite allegories, in which a childlike spirit and the memories therein clash with the adiaphoric character of metropolitan solipsism and the tangential contradictions of contemporary subsistence, innocent and wild scenery thrives affably in the open countryside or along the banks of waterways. Formally composed of a multitude of simple forms and large patches of earthy colours, they generate an authentic, open, and uninhibited fresco.

 After the gust of a warm summer evening breeze and generous caresses, libidinous bodies and sweet memories embrace each other. Pleasantly protected by a white sheet, they celebrate the immense pleasure of the present moment, symptomatic of an ideal world that pushes the limits of conventional representations. 

Opening reception: 31 August from 3-6 PM

Gallery address: 68 Lok Ku Road, Sheung Wan

Double Q Gallery is delighted to announce our forthcoming solo exhibition of new works by Hungarian artist Luca Sára Rózsa, scheduled to open on 18 July 2024.

Luca Sára Rózsa (b. 1990, Hungary) analyses the complex relationship between mankind and his environment. Her figures, taken from the Bible and mythology, are often shown in a natural setting in line with the representational portraiture of the Renaissance and the baroque. Rózsa won the prestigious Esterházy Art Award in 2021. Today her works can be found in key institutional collections including the Hungarian National Gallery.

Gallery address: 68 Lok Ku Road, Sheung Wan

Double Q Gallery is pleased to present The Garden of Fragility, a group exhibition bringing together new works by three female artists from Central and Eastern Europe. The exhibition focuses on the biology of the female body and identity, as well as natural processes such as growth, florescence, and maturation. The work of all three artists is characterised by an emphasis on glimpses of softness behind structure, hidden references brought to light by the motifs, and the integration of form and reference.

Gallery address: 68 Lok Ku Road, Sheung Wan

Double Q Gallery is pleased to present Tomo Campbell’s second solo exhibition in Hong Kong, scheduled to open in early April 2024.

 Inspired by a diverse array of source material, Tomo Campbell's large-scale oil paintings are constantly altering, extending and breaking down conventions. His abstracted depictions of 'traditional' subjects such as hunting, parades and explorers are, as he puts it, 'never quite solid or whole', yet they exude an extraordinarily rich sense of vision. 'I try to paint in a way that makes the paint vibrate', says Campbell, 'to make it look light and delicate and on the cusp of shifting'. Campbell's bold and layered arrangements of complementary colours, reminiscent of  the Rococo, offer multiple focal points and keep the eye in constant motion. Balancing activity and stasis, confidence and doubt, his works occupy a fertile space somewhere between the known and the undiscovered.

 Gallery address: 68 Lok Ku Road, Sheung Wan

Double Q Gallery is pleased to present Nadia Ayari’s forthcoming solo exhibition in Hong Kong, scheduled to open in early March 2024.

Straddling abstraction and figuration, the work of Tunisian-American artist Nadia Ayari (b. 1981) often negotiates the personal and the political. In serial paintings that feature a tight selection of recurring motifs – among them flower blossoms, leaves, eyes and figs – Ayari explores the mystical and personal symbolism to be found in nature. The artist draws inspiration from the landscape and native flora of North Africa as well as poetry, language, science fiction and spiritual practice, often distilling visionary narratives and botanical forms into stylised, esoteric compositions that are executed in a limited palette of jewel-toned purples, blues, greens and pinks.

Opening Reception: 3-5pm

Gallery address: 68 Lok Ku Road, Sheung Wan

Double Q Gallery is pleased to present a duo exhibition by Polish multidisciplinary artist Zuza Golińska and Wanda Czełkowska, who was one of the most important figures in Polish avant-garde art. The exhibition is scheduled to open in December 2023.

Polish multidisciplinary artist Zuza Golińska (b. 1990) works primarily with sculpture and installation to create robust, spatial interventions that investigate the relationship between humans, public space, and architecture. Her practice is rooted in a variety of visual references from a kind of raw, brutalist post-industrial materiality to dystopian science fiction and pre-modernism. Inspired by the radical Arte Povera movement of the 1970s, her materials are often chosen as symbolic elements of gendered socio-political narrative around labour and industry, such as recycled steel from a shipyard in her hometown of Gdańsk.

Wanda Czełkowska (1930–2021) is one of the most important figures in Polish avant-garde art, yet her oeuvre has only recently begun to attract the attention of the international canon of art history. Her work – which remains largely unknown outside Poland unlike that of her contemporaries Alina Szapocznikow and Magdalena Abakanowicz – encompasses a variety of mediums: she produced sculptures, installations, paintings, drawings, and photographs, although the elimination of the boundaries between different artistic forms and mediums was a characteristic feature of her work.

Gallery address: 68 Lok Ku Road, Sheung Wan

Double Q Gallery is pleased to present a solo exhibition of new works by American artist Tim Irani (b. 1989), his first with the gallery. Drawing on elements of pop art and computer-generated imagery, Irani’s art engages with themes around life in the digital age. His practice focuses on the construction of seemingly simple yet complex works that combine digital renderings with traditional painting and woodworking techniques to create what he calls ‘structural paintings’. Requiring careful planning, each work is meticulously layered in order to achieve the colours seen in the digital realm of pixels. 

Irani graduated with a degree in architecture from the University of San Francisco. Together with a deep interest in nature and technology since childhood, he began to create works that explore the relationship between two distinct worlds – the natural and the virtual. Seeking to document technology’s integration into living systems, Irani’s work investigates visual similarities between technological objects and the natural world. In Red Object Macrochip (2023), for example, he observes how a computer circuit board can resemble a landscape drawing plan for a formal garden. Both frightened and captivated by what the future holds, the artist brings to life a playful world where nature and technology coexist in careful balance.  

Gallery address: 68 Lok Ku Road, Sheung Wan

Double Q Gallery is pleased to present David Horváth’s first solo exhibition in Hong Kong, scheduled to open on 14th September 2023. 

Romanian-born artist David Horváth (b. 1998) composes impressionistic scenes of landscapes, figures and self-portraits that demonstrate a profound curiosity in light and shadows as observed by the human eye. Characterized by an atmospheric haziness and soft impasto brushwork, Horvath’s quiet, intimate paintings are a warm tribute to his hometown of Baia Mare where he currently lives and works.

Opening reception: 16 September, 4-6 PM

Gallery address: 68 Lok Ku Road, Sheung Wan

Double Q Gallery is pleased to present ‘Fantastic Landscapes’, a group exhibition scheduled to open on 16th September 2023.

 From surreal landscapes marked by imagined monuments and topiary, to enthralling floralscapes and dreamlike minimalistic environments, the exhibition explores the natural world as re-imagined by a group of distinctive and pioneering international artists.

 Exhibiting artists: Laura Berger, Kate Bickmore, Sholto Blissett, Pierre Knop

Opening reception: 16 September, 4-6 PM

Gallery address: 68 Lok Ku Road, Sheung Wan

Double Q Gallery is pleased to present a solo exhibition of new paintings by Hungarian artist Botond Keresztesi (b. 1987, Târgu Mureș, Romania), his first with the gallery. For the title of his debut Hong Kong exhibition, Keresztesi drew on a historical reference – an artwork of the same name (The Garden of the Magician) painted by one of Hungary’s most significant artists, Lajos Gulácsy, between 1906 and 1907.

Botond Keresztesi is one of the most distinctive painters of the post-digital era in Eastern Europe, and as a member of Generation Y, pioneered an innovative and ambitious way of thinking about painting. Like his contemporaries, he has been exposed since childhood to the determinative visual world of video games and electronic devices. His artistic explorations are informed by this defining experience and are directed towards the blurred nature of the boundaries between the digital and analogue worlds as well as the continuous dialogue between these two distinct spheres of reality.

Gallery address: 68 Lok Ku Road, Sheung Wan

“Do you think that I count the days? There is only one day left, always starting over: it is given to us at dawn and taken away from us at dusk.” ― Jean-Paul Sartre 

Double Q Gallery is honoured to present ‘Resilience: Voices of Ukraine’, an exhibition dedicated to two contemporary Ukrainian artists displaced by the war, Artem Volokitin and Maria Kulikovska. The exhibition offers visual representations of the warfare’s lasting impact on ordinary Ukrainians and highlights how the two artists have built resilience through the act and process of artistic creation. Both artists have fled their countries since the war started in Ukraine in March 2022. Kulikovska and Volokitin, like so many other Ukrainians, found themselves needing to start a new life from scratch. This exhibition can be seen as an organic part of that new start as it has developed and accompanied the artists throughout the last twelve months. Although working on an exhibition in the face of such struggles seemed nonsensical at times, it actually ended up giving them hope. This exhibition is about that hope and what art can give to the artist, and now to you, the visitor. 

“I use the allegory of a repeatedly refracted light beam in the Multiple Refraction series. Light returns to its starting point and does not dissolve into infinite space.” — Artem Volokitin  

Gallery address: 68 Lok Ku Road, Sheung Wan

Double Q Gallery is pleased to present our first exhibition of 2023, “Down in the woods, up to the sky.”⁠
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Curated by Domenico de Chirico, the group exhibition is inspired by Henry David Thoreau's 1854 book, “Walden; or, Life in the Woods,” which is about returning to nature and simplicity.

In conversation with Domenico de Chirico:

”When I decided the exhibition topic and its title, I immediately worked on the selection of artists based on their artistic practice and their own both intellectual and aesthetic flexibility. All invited artists have in some way a very strong connection with themes such as nature and gestures.

The relationship between all the works in the exhibition has been structured on the basis of the request to understand and to interpret the theme of the exhibition in a very free way without ever betraying the artistic identities of each of them. They were all called upon to interpret an apparently very common but currently extremely important theme which is crucial to the fate of the world. Each of them has elegantly and generously given us a unique vision in harmony with all the others. We could consider this exhibition as a new way of breathing.”

Gallery address: 68 Lok Ku Road, Sheung Wan

"My paintings, my compositions look solid but if you take a closer look, you can't be sure if these structures are developing or crumbling."

In his latest exhibition at Double Q Gallery, Genti Korini’s familiar abstract forms are given a gentler, “softer” expression. Produced in 2022, some of the works on display have a historical character which combines the stylistic elements of cubism and expressionism, while others are more detailed pieces that employ the more straightforward graphic idiom of the poster. The exhibition takes its name from the work displayed at the front of the gallery, raising the question: Do we really have a bright future ahead of us? We have been led to this notion by the growing prosperity and capitalist transformations in Eastern Europe, but whether or not we can achieve what is referred to as a better, brighter future ultimately depends on the kind of world we create.

Gallery address: 68 Lok Ku Road, Sheung Wan

“My painting depicts reality – my reality. This also encompasses my idea of nature, which is in turn an expression of this reality. I see nature as a presence in painting that is archetypical and not illustrative."

As a starting point for creating his images, Hosu often uses self-made recordings from his own family albums, capturing summer walks in the woods, sports events or trips with friends. However, according to his own statement, the almost extensive basic block of his art references the relationship between the figure and the landscape (natural space). He is interested in the magical moment when the figure moving in the landscape becomes almost one with the space and its environment and dissolves within them - he strives to represent and express this endless fusion. In his compositions, nature and the body(s) that move within it not only merge, but enter into a symbiotic relationship with each other with the existence of one being unimaginable without the other.

Gallery address: 68 Lok Ku Road, Sheung Wan

“I wish they (viewers) could travel back in time to their childhood to experience that childish amazement again, that free association, playfulness, heightened fantasy."

Primarily inspired by the aesthetics of Eastern European animated films, Mátyás Erményi’s most recent series can be technically characterised as a subtle oscillation between drawing and painting. His latest group of works portrays anthropomorphic, coniferous pine trees as the protagonists. There is also a personal thread which connects the trees in this series back to the generation of the artist's great-grandparents, who once planted pine trees in the family yard.

Gallery address: 68 Lok Ku Road, Sheung Wan

In the 60’s, at the beginning of Djordje Ivačković artistic career, his artistic style was strongly influenced by Eastern culture, especially the spiritual disciplines in Japanese paintings. Traditional Chinese aesthetics often regards calligraphy as one of the highest communication schemes as this form reveals the author’s character and true nature. In the radicalized 1960s, Ivačković created many authentic paintings that express intensive physical movement and reflect his early discipline towards pure aesthetics.

Asian philosophy is not the only thread that runs through Ivačković’s prescription of practice. Same as many prominent American visual artists in the 1960s and early 1970s, such as Agnes Martin, Carl Andre, Robert Morris, and Frank Stella, , Djordje Ivačković was also inspired by the Minimalism art movement. Minimalism is an extension of the abstract art movement that states art should be itself and not imitate any aspect of the real world. With this intention, artists aim to direct the viewer to respond only to what is in front of them. There is an intently impersonal aspect of Ivačković’s paintings that offers a highly purified form of beauty. The bold and determined brushstroke and the choice of muted colour palette offer the audience a purely visual experience.

Gallery address: 68 Lok Ku Road, Sheung Wan

Natalia Załuska creates minimalistic, structural paintings using collage technique. Her works appear as architectural images which transcend the boundaries of two-dimensional space. Stretcher, cardboard, acrylic paint – these materials represent Załuska’s permanent toolkit. Her creative process is not preceded by a sketch or plan, the artworks are born there and then in her studio. The artist is intrigued by the possibilities of depicting structures, and how one can illustrate the construction of the picture using monochrome colours, or how the different layers alter the picture as a whole.

Gallery address: 68 Lok Ku Road, Sheung Wan

Carrying both contemporary and Neo-primitivism traits, József Csató’s mysterious, surreal portraits and figural images of life as well as the mural-like desaturated colours are expressive and archaic. His works unite various references in art history such as fairy-tale or pop cultural icons, surrealism, figurative and abstract elements. Using a minimal and witty language, he responds to the modern society filled with people’s sufferings, anxieties and everyday feelings. 

Csató’s paintings often show everyday objects and life situations, which are sometimes traced back to ironic, other times banal and humorous transcripts. Recurrence of the artist’s sketchbook drawings, namely ‘sketchbook-mythologies,’ Csató’s new series has small pencil lines become human sized projections of a universe full of dreams and marvelous creatures. Nature-inspired forms and motifs such as smoke, volcano, rocks, body parts and plants can be seen throughout the canvases, while hybrid figures resembling geometric shapes, tubes, drops, tiles and purely fictional signs emerge constantly.

Gallery address: 68 Lok Ku Road, Sheung Wan

Karolina Bielawska

Karolina Bielawska's interpretation of simplicity and hard-edge painting acts in contravention, in which she mixes various painting techniques and sculptural materials and attempts to create more space in her works. Although the final result of the work reduces the creative process, her practice explores possibilities of complex layers with the limits of picture itself, revealing meditative meticuolouness and diverse abstract impressions.

Kateřina Ondrušková

Concentrating on nature motifs, especially flowers, Kateřina Ondrušková’s work is ample with bright colours, organic shapes, and bold and flowy brushwork. Taking inspiration from gardens and her daily life, her canvases are filled with personal emotions that evoke melancholic and peaceful reminiscence among the audience, which in the exhibits, composed into interleaved layers that projected on each other within each image space.

Monika Žáková

Fascinating by a certain layering and connections of meaning while addressing the relationship between materials, Monika Žáková works in a concentrated manner with an unprecedented emphasis on the chiselling of the technical processing of her paintings.

Gallery address: 68 Lok Ku Road, Sheung Wan

Double Q Gallery will open its door with City In The Sky by Márton Nemes, the Hungarian artist’s first solo show in Asia, featuring his iconic sculptural paintings. Titled Hong Kong Series, they contemplate modern life and social media phenomenon in metropolises like Hong Kong, capturing the city’s double-edged sword where excitement turns into escapism; promising yet at times desolate. 

Initially inspired by the vibrant energy of techno culture and illegal warehouse parties in London, where Nemes moved to in 2017, this series underscores a distant fascination with Hong Kong’s dazzling skyline and ongoing architectural expansion. He translates this to his paintings by rendering layers of the same materials in multiple ways, a technique central to his practice despite the limitations of a two-dimensional canvas. “I am amazed by the way Hong Kong is constantly growing in its geographically available space by penetrating deeper and deeper underground and higher and higher towards the sky,” Nemes says.

Gallery address: 68 Lok Ku Road, Sheung Wan

“I like to think of things in terms of cycles, one thing becoming another and back again.” 

‘From Now On’ is a phrase that cycles through Campbell’s latest body of work. ‘From’ represents the past, ‘Now’ represents the present, and ‘On’ represents the future. Campbell often paints surrounded by his own work, elements of which make their way back into his newest paintings. The paintings themselves are propelled by their own momentum as one painting creates the starting point for the next. It is a constant cycle, summed up by the painting names and the exhibition title, and more thoughtfully, the hidden connections between the paintings, and further reveals the artist’s circular perception in a rapidly changing world. The continuous mythical motifs and complementary colour palettes Campbell utilises throughout the exhibition dramatically transform the gallery space into somewhere that feels like a recurring dream. In doing so, Campbell pushes the viewer into a dreamlike realm that mirrors and shadows our current social landscape. Like a pleasant wonderland, each painting recalls the viewer towards a joyful state lost between reality and fantasy, inciting viewers to embrace ambiguity as they seek to navigate and make sense of the world today.

Gallery address: 68 Lok Ku Road, Sheung Wan