Tsang Kin Wah

titled and signed in pinyin and dated 2007 on the reverse

Germany, Hamburg, ArtChina Gallery, You Cannot Clone It, But You Can Buy It, 2007

The upper part of the canvas, near the edge, and the middle part, upon the stretcher, were professionally restored by the orignial artist. Mild stretcher cracks in the corner of the canvas, otherwise in statisfactory condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Tsang Kin Wah has practiced calligraphy since childhood and has received numerous accolades during his academic years.  In the year 2002, he was granted a scholarship to pursue a Master's in Book Arts at the Camberwell College of Arts.  When in London, he had an encounter that posed as a turning point in his creative expression.  One day on the streets, he was unduly greeted with a slew of profanities by two black youngsters.  "I was disappointed at the whole situation.  At first glance, the city and its people seemed so friendly and gentle.  However, the elapsing of time has shown that their real selves are something else entirely."  Culture shock and racial discrimination spurred the production of his first site-specific work Interior. Modelling on the floral patterns devised by British architect-interior designer William Morris, he covered the entire exhibition room in an analogous, swirling motif.  Upon closer inspection, one is confronted with the realization that the stylized florals are actually composed of English swear words.  The claustrophobia from the patterns obscuring every wall coupled with the vulgarity concealed within generates an unassailably suffocating environment.  Interior: Red on White (Lot 601) is an act of continuation, a microcosm of his site-specific installation.  He has transposed his wall design onto the canvas and used the striking colour of red to enhance the visual jolt.  Weaving irreverent text into a melodious pattern culminates in a work charged with layers of comprehensibility and evocative of a warning against spurious appearances.