Imagery itself is Cheung’s medium, either co-opted in the creation of multifaceted paintings or manipulated via digital algorithms. Young Masters is proud to present Cheung’s The Course of Empire – The Arcadian or Pastoral State (after Thomas Cole), 1974-75, 2017. Taking Thomas Cole’s utopic scene of a preurban ancient Greece as point of departure, Cheung deploys a technological glitching effect, reordering the fabric of the landscape to create an image of unfamiliar beauty.

Cheung graduated from Central Saint Martins in 1998, completing an MA in painting at the Royal College of Art in 2001. Recent solo exhibitions include Unknown Knowns at Edel Assanti (2017), Here be Dragons at Nottingham Castle Museum (2016), Lines in the Sand at Leila Heller Gallery Dubai (2016), The Abyss Stares Back at Edel Assanti (2015), Altered States at the Arizona State University Art Museum (2010), The Four Horsemen of the Apocalypse at the New Art Gallery Walsall (2009) and The Promised Land at Jack Shainman Gallery (2009). Cheung’s work was included in Vita Vitale, The Azerbaijan Pavilion at the 56th Venice Biennale (2015). Cheung’s works are included in major international private and public collections including MoMA, The British Museum, The Hirschhorn Museum and Sculpture Garden, San Antonio Museum of Art, The Whitworth Museum, Arizona State University Art Museum, Asian Art Museum of San Francisco, Knoxville Museum, Speed Art Museum, The New Art Gallery Walsall and the Yale Center for British Art. Cheung lives and works in London.

Cheung’s The Course of Empire – The Arcadian or Pastoral State (after Thomas Cole), 1974-75, 2017, can be seen at Gallery 8, Duke Street from 19th- 24th June 2017. Click here for full details.

Featured Image: Gordon Cheung, The Course of Empire – The Arcadian or Pastoral State (after Thomas Cole), 1974-75, 2017, Giclée on canvas, 100.3 x 161.3 cm, (39 1⁄2 x 63 1⁄2 in.). Copyright Gordon Cheung. Courtesy Edel Assanti.

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