Booth 1C18
SILVERLENS is pleased to be participating in Art Basel Hong Kong in three ways: on-site in Hong Kong, with a joint booth with Rossi & Rossi; the fair’s Online Viewing Room; and our own website, where all the pieces are available for viewing. The works represent diversity in practice and a playfulness with materials that the gallery has been championing since it was founded in 2004.
Mit Jai Inn (b. 1960) shows his signature double-sided Scrolls alongside his Sala Murals that were initially seen at the temple of the Jim Thompson Park in Thailand. Bernardo Pacquing (b. 1967) presents recent red abstract paintings: his Beta-Chain series, out of his Singapore studio. Patricia Perez Eustaquio (b. 1977) has made a new hybrid painting, Boom VII. A three-dimensional wall- bound piece, on shaped aluminum with tapestry – art as a burst of energy. Accompanying this is a tapestry, After Pila Pila, which is an abstracted rendition of Philippine national artist, Vicente Manansala’s iconic painting. Gary-Ross Pastrana (b. 1978) shows a grid of early collages from 1999 – 2003, Nos. 61 – 97 (Set II – Hunting Guides) – source codes for his conceptual practice of transforming existing functional objects into art. James Clar (b. 1979), a Filipino-American artist who divides his time between Brooklyn and Manila, makes his first appearance at Art Basel Hong Kong, with two sculptural installations using light: Rain Under Lamp Post and Ball and Chain. Pio Abad (b. 1983), London-based Filipino artist, presents a new suite of drawings from his Notes on Decomposition, an ongoing series of drawings that examines specific moments of political and economic upheavals through the role that domestic objects play in these narratives. The three red-ground cloisonné vases depicted in the triptych work Notes on Decomposition (Lot 157) are from Margaret Thatcher’s collection of personal effects, auctioned off by Christie’s in 2019. Pow Martinez (b. 1983) mines the internet for images that are both tongue-in-cheek and absurd. He shows recent paintings that point to our times. The largest piece, Affluenza speaks to prevalent obsession with selfies and exercise. Nicole Coson (b. 1992) works on a variety of media – analogue printmaking and etching press methods – to create her large-scale abstract paintings. Her primary emphasis is on the economies of visibility and invisibility, focusing on space in between what is seen and overlooked. She is a London-based Filipina artist who is making her debut at Art Basel Hong Kong.

mpefm CHINA fair art press release
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