itit Cheung

2024: A Year of Growth and Gratitude 🙏 2️⃣-5️⃣ Installation views of ‘History will say we were best friends’ at PODIUM, Hong Kong—a deeply personal exploration of male intimacies and relationships. Thankful for the chance to present alongside inspiring artists. (📸 Lok Hang Wu, courtesy of @podiumgallery , Hong Kong) 6️⃣-7️⃣ Ripple Effects: Colours of Humanity Arts Prize 2024 at Hong Kong Arts Centre—a heartfelt project connected to my late father, reflecting on themes of memory and connection. (Courtesy of @free_walk_in and @coloursofhumanity ) 8️⃣-9️⃣ Atelier Export 0.1, interval:In—a space for experimentation and learning, pushing my boundaries in new directions. (Courtesy of the artist) @interval_in 🔟 SOGLIE DELL’ INVISIBILE in Florence—my first experience exhibiting in Italy, a humbling and unforgettable milestone. @isolart_gallery As we move into 2025, I’m taking things slow—focusing on creating and practicing with genuine intention, letting the work guide me. Thank you to all the friends, collaborators, and supporters who stood by me in 2024. Your encouragement means the world. 💙 Here’s to a thoughtful and meaningful new year. 🌱

[Reposted] Videotage × Forum Lenteng：鱗光映盪 Scales of Passage Throughout history, ‘mobility’ has been a fundamental means of survival, while ‘diaspora’ describes the migration and displacement of entire communities. While the two terms differ by a single character in Chinese, the latter carries the weight of a seismic shift—a departure towards an unknown future. Regardless of the catalyst, such migrations represent more than just trails across oceans; they reveal a confluence of personal memories, collective trajectories, and the hybrid identities of future generations, merging through clear intersections and subtle, intangible flows. These memories accumulate over time, settling within the body as a continuous negotiation between generations and eras. Situated across the Pacific Ocean, Indonesia and Hong Kong have distinct historical and linguistic trajectories; yet, both regions share cultural commonalities that imply profound and often overlooked linkages. While the Dragon is often a symbol of evil in the West, the Naga and the Dragon in Southeast and East Asia are revered as guardian spirits and auspicious creatures. As we bask in the symbolism of being the ‘descendents’ to such deities, how do we trace our heritage through these cultural fragments? Beyond shared beliefs and values, can individual and collective trauma can be understood and communicated? What experiences have layered together to form our identities today? Videotage (Hong Kong) and Forum Lenteng (Jakarta) proudly present the touring screening series Scales of Passage. Drawing upon their deep-rooted commitment to promoting media art, the two organisations have curated a selection of video works from Hong Kong, Indonesia, and Southeast Asia, unearthing social histories through personal narratives. The programme explores the diverse interpretations of ‘diaspora’ within the contexts of Hong Kong and Southeast Asia, reflecting on how the experience of migration constructs and reconstructs collective and individual identities. —— Artists: Tintin Wulia, Ivonne Kani, Elysa Wendi, Weera-it Ittiteerarak, Ho Tzu Nyen Scales of Passage is part of the 15th TIDF’s Special Presentation @tidf.tw

2025, Good memories and a tough year

These two rings are formed from Hong Kong five-cent coins minted in 1958 and 1978—years that marked her beginning, and the moment she first left her homeland. I was drawn to these coins not because of their rarity, but because their dates quietly align with the trajectory of her life: from growing up in Thailand to stepping into Hong Kong at a time when many women from the region travelled abroad for work to support their families. Their movement across borders shaped the social and economic fabric of the late twentieth century, and her journey was part of that wider current. Working with these two coins—one cupronickel, one brass—also brought attention to how materials shift with time, just as circumstances and societies do. Their differences are subtle, but they hold traces of changing economies, changing demands, and shifting definitions of labour and value. By reshaping them into rings, I’m not assigning them a role beyond what they already carry. Instead, I’m acknowledging the path she took, the decisions she made, and the quiet endurance required of women of her generation. The work offers a way to stay in conversation with her story—steady, grounded, and still unfolding.

I’m part of the group exhibition “Colours of Humanity 2025: Pool of Resonance” at the Goethe-Gallery, Hong Kong Arts Centre. Thank you to the curatorial and community project team — @eeunicee Eunice Tsang, @jims_lam Jims Lam, and @s.l.a.v_i.c.a Slavica Habjanovic — for shaping an edition that feels both grounded and quietly resonant. This year’s “Pool of Resonance” turns inward, gathering works that consider belonging, care, and identity in today’s Hong Kong. Walking through the exhibition, you sense how each practice — whether intimate, political, or poetic — contributes to a shared space of reflection. It’s a show that listens, and invites visitors to listen in return. I’m showing an earlier work from 2023, I See the Phaya Naga Elsewhere, first presented in my MFA graduation show. The exhibition features a wonderful group of artists and community practitioners: Alex Huda, @artisaanp Arianna San Pedro, @chuhoiding Chu Hoi Ding, @yvonne.ywfeng Yvonne Feng, @florencelamsoyue Florence Lam, itit Cheung, @kimjeeyunstudio Jeeyun Kim, @jodie.luklw Jodie Luk, Kelvin Au, @wlyvlo Louise Wan, @knyazeva.marina Marina & Sergei Kniazeva, @phoenixchunzz Ngo Chun Phoenix Tse, @rici_draw_ Rico Lau, @yu_siufa Siufa Yu, @thomasfytint Thomas Fung, @zheng_tianyi Tianyi Zheng, @vibrant.within.vortex Veron Wei, and @yaukkeung Yau Kwok Keung. Although the opening has passed, the exhibition continues until 20 December 2025. Venue: Goethe-Gallery, 14/F, Hong Kong Arts Centre, Wanchai Dates: 22.11–20.12.2025 Co-organised with the European Union Office to Hong Kong and Macao, and supported by Eaton HK. If you visit, feel free to let me know — I’d love to hear your thoughts.

New website launched! Let me know if you found bugs, in progress updating. Browse with desktop version for better experience ✨🫰🏽 ititcheung.com Link in bio

July dump, wanderlust. Human, animals, ocean.

Empty Shore Echoes Engraved, analog negative photograph etched on stainless steel 40 x 40 x 14.5 cm 2024 In the silent spaces left by isolation, a symbol rises from the steel, echoing a realm caught between absence and presence. Amidst the stark contrasts of a world once vibrant now subdued, there is a whisper of myth and memory. The remnants of an empty shore speak of a deeper longing, weaving together fragments of displacement and the quest for solace. Carved from a landscape of disconnection, it embodies the unspoken ache for home and stands as a silent testament to the enduring search for meaning amidst change.

拍跳舞片定廢片？ ：廢片！ @monsta_kei @kiuqqq @leungbagel @maluiiih @nicholas_sai @wsssssze @ititcheung @lingchingyi @isaac_ykh @leo0611 @janlyz

In Absence, Duality Remains Resin, Jade White Marble 20.5 x 20.5 x 12.5 cm 2024 At the age of 11, my father’s presence receded into the background of a small, partitioned room where my mother and I began a new chapter. His final gesture of care was to replace the lock—a silver knob, cold yet symmetrical, laden with unspoken emotions. The lock became both a bridge and a barrier, embodying the duality of our relationship: a bond that was both secure and distant, present and absent. Through this piece, I reflect on the ways we inherit traits and mannerisms from those who shape us, even in their absence. Despite the fleeting time my father and I spent together, I now see echoes of him in my actions and ways of expressing care. Using a door lock as the central symbol, with its mirrored keyholes connecting each side, I explore the invisible yet unshakable ties between us. This work captures the fragile balance of longing, mimicry, and acceptance, presenting the lock as a marker of intimacy, memory, and quiet transformation. Photo: Lok Hang Wu. Courtesy of the artist and PODIUM, Hong Kong. Installation view of ‘History will say we were best friends’ at PODIUM, Hong Kong, 07 December 2024—01 February 2025. Photo: Lok Hang Wu. Courtesy of the artist and PODIUM, Hong Kong.

Feeling grateful to be part of the Ripple Effects: Colours of Humanity Arts Prize exhibition, where I’m showcasing a piece that extends from a body of work connected to my late father. This print shares a deep connection with the works I presenting at PODIUM GALLERY, continuing my exploration of memory and emotions. This print reflects my process of revisiting past memories while delving into broader themes of interpersonal relationships and emotional connections. For me, it’s an important continuation that carries immense significance. The exhibition runs until January 8, 2025—if you have time, I’d love for you to check it out. Looking forward to sharing more with you all! 💙 最近很感恩，在Ripple Effects: Colours of Humanity Arts Prize展覽裡，我展示了一件延續同我已故爸爸有關的作品。這件作品同在PODIUM GALLERY展出的作品有很深的連繫，也是探索過去及情感的一部分。 表達了我對過去記憶的整理，亦延續了對更廣泛人際關係及情感的探索。對我來說，這件作品是一次重要的延續，承載著很大的意義。 展覽會持續到明年1月8日，如果大家有時間，不妨看看。希望能夠同大家分享更多！💙 Ubiquitous, Never Say Goodbye 2023 reverse inkjet printed on soaked paper with crimson acrylic frame 30 x 21 x 4 cm (with frame)

Earlier this year, I went through a breakdown—I truly felt like I couldn’t keep going anymore. But as the year comes to an end, I’m grateful to have the opportunity to share some of my favorite works from all my years of creating at PODIUM GALLERY. This year has been an exhausting one for me, and I believe many others feel the same. So much has changed for so many of us, and we’ve had to face, process, and overcome challenges in different ways. Three of the works I’m presenting are deeply connected to my late father. I feel their meaning goes far beyond our relationship, touching on something broader and more universal. These pieces, though small in scale, took a long time to create—some spanning several months—and they carry immense emotional weight and significance. They are among my most cherished works. Life continues to shift and evolve, and perhaps we are all navigating transitions in our own ways. I hope we can all find strength and meaning in these changes as we move forward. 💙 前陣子經歷了一次崩潰，甚至覺得自己真的撐不下去了。不過到了年末，很幸運有機會能在PODIUM GALLERY分享這幾件我多年創作以來最喜歡的作品。 今年對我來說真的很累，相信很多人也一樣。今年大家都經歷了不同程度的變化，需要去面對、處理，甚至克服不少困難。 這次展出的三件作品，都和我已故的爸爸有關。不過我覺得這些作品的意義，已經超越了我們兩人之間的關係，而是更廣泛的情感表達。雖然作品都很小，但完成它們花了很長的時間，有些甚至做了好幾個月，承載的情感和意義真的非常深刻。可以說，這三件作品是我創作以來最喜歡的其中之一。 生活還在不斷變化，我想我們每個人都在自己的變化中前進。希望大家都能在這些轉變裡找到自己的力量和意義，一起繼續走下去。💙 The flower is red, is sweet and is dead: ขอโทษ (apologies) 2022/2024 Vodka, wild Chinese Ixora without the androecium, glass bottle 28.8 x 28.8 x 12.5 cm การแตกตา (budding) 2023/2024 Wild Chinese Ixora’s androecium with resin, yellow travertine box 29.3 x 15.6 x 5 cm In Absence, duality remains 2024 Resin, jade white marble, LED 20.5 x 20.5 x 12.5 cm