Jessie Homer French was born in New York in 1940. She currently lives and works in Oak View, California.

A self-taught artist, her paintings emerge from a continuous analysis of places surrounding her and reveal the artist’s personal and profound attitude to a local and transient type of composition. Through a simplified language - only apparently naive, flat colours and calm brushstrokes - Homer French treats with delicate care existential issues related to death, nature and rural life. In her work, humanity appears a toxic intruder in a melancholic nature, and yet, even the paintings with the darkest subjects feature a formal vitality capable of giving extraordinary immediacy to her bittersweet and anti-pastoral compositions, in which creation and destruction coexist with exemplary candour.

Opening reception: Thursday, February 6, 6-8pm

Gallery address: Shop 03-205A & 205B & 206, Second Floor, Barrack Block, Tai Kwun, Central

John McAllister, deeply drawn to the enigmatic play of light, immersed himself in its exploration through the medium of painting. His journey from California to New York proved pivotal, especially his encounter with Post-Impressionist masters at the Metropolitan Museum of Art. The works of Pierre Bonnard and Henri Matisse drew him into the tradition of twentieth-century artists who strive to capture the immemorial elements of light.

In his landscapes, instead of sketching specific scenes and points of view in the natural world, McAllister creates imagined vistas inspired by the sense of the sublime experienced in the beauty of nature. The artist engages in an ever-evolving dialogue with his environment; formed as close by as the flowers planted in his garden beyond his studio door, to riding his bike for miles through the wilderness in his surrounding Massachusetts. Back in the studio he creates scenes that possess the kind of harmonious beauty only possible with a considerate understanding of the delicate balance between the oppositional forces in nature and its constant state of flux: the fleetingness of a single ray of light against the ubiquitous being of the sun: the endless cycle of creative growth into hibernation and decay.

Gallery address: Shop 03-205A & 205B & 206, Second Floor, Barrack Block, Tai Kwun

Blurring the lines between abstraction and figuration, the contemporary artist Ferrari Sheppard creates mid to large scale paintings celebrating the humanity of Black people in the Americas and within the diaspora. The Los Angeles based artist was born in Chicago and lived in various cities in Africa. His paintings are influenced by memories and lived experience, evoking a sense of nostalgia.

Sheppard’s approach to figuration heralds a new visual language, with large acrylic, charcoal, and 24k gold on canvas conveying movement and emotion through his confident brushstrokes and distinctive use of color. His abstract practice brings forth irregularities in each work giving the viewer a sense of activity and excitement. Evocative titles are used in a poetic manner to reflect deeper meanings and cultural references. The abstracted figures are created with an intuitive balance between subtle idiosyncrasies and intentional opacity, holding space for the complexity and expansiveness within each individual being.

Gallery address: Shop 03-205A & 205B & 206, Second Floor, Barrack Block, Tai Kwun, Central

Massimo Bartolini, born in Cecina in 1962, where he currently resides and works, has a multifaceted background. He studied as a surveyor in Livorno (1976-1981) and graduated from the Florence Academy (1989). He is a professor of visual arts at UNIBZ Bolzano, NABA (New Academy of Fine Arts, Milan) and Academy of Fine Arts in Bologna.

His repertoire spans a wide array of languages and materials, encompassing performative works involving temporary actors, the public, or the architectural space, complex sound sculptures, photographs, videos, and large-scale public installations.

Opening reception: 29 August, 5-7pm

Gallery address: Shop 03-205 & 206, Barrack Block Second Floor, Tai Kwun, Central

Hejum Bä ’s first solo exhibition at MASSIMODECARLO Hong Kong bears a provocative title – a nod to the viral Korean internet meme – I want to buy unseen eyes – referencing the constant stream and influx of content we consume in the digital age, whether we intend it or not. These thoughts, feelings, and emotions are laid down on canvas as a response to the artist’s perceptiveness.

Hejum’s paintings are not mere random arrangements of lines and colour fields. Rather, they represent a meticulous dissection and abstraction of the peculiarities of our contemporary experiences. Living in Seoul, and working in Gangnam district, also known as the financial heart of the city, Hejum Bä looks and listens at what surrounds her. To the artist, the seeming schizophrenia of modern life is neither foreign nor bizzare, but rather a familiar muse.

Gallery address: Shop 03-205 & 206, Barrack Block, Tai Kwun, Central

MASSIMODECARLO is delighted to announce a solo exhibition by the Italian Maestro Mimmo Paladino. This momentous occasion marks Paladino’s return to Asia after his inaugural exhibition at Beijing’s National Gallery of Fine Arts in 1994. Exactly three decades later, Paladino presents a selection of his most recent works at our Hong Kong gallery. 

Paladino, a multifaceted artist fascinated by the ancient and the ancestral, finds his muse in what defines Italian culture. Its influence shaped his artistic practice: "I come from an inland culture, a solid culture. Coastal backgrounds are more winding and redundant, full of opposite and different influences. The countryside is rife with legends, cults of the dead, witches and fairies, a sense of the pagan mystery, both religious and spiritual typical of the south."

Ultimately, Paladino blends tradition and personal recollections, past and present times. His creations hover delicately between abstraction and figuration, drawing inspiration from archaic rituals and alchemical practices, coaxing them to unveil the essence of contemporary existence.

Opening reception: Tuesday, May 21, 20245:00 - 8.00PM

Gallery address: Shop 03-205 & 206, Barrack Block, Tai Kwun

There are places that defy any sort of categorization: the makeshift sanctuaries that are home to hundreds, if not thousands of ceramic, glass or clay statues of the Buddha and other protective divinities, are among them. Deposited – never discarded – by their owners changing home or leaving town, the statues sit together in gardens, sometimes by the sea, their godly silhouettes mushrooming across their sanctuary’s slopes, gazing into the horizon.

Enchanted by the Buddhas’ benevolent, smiling gazes and the sense of suspended reality exuding from these modest havens, their sanctuaries gradually imposed themselves as the inevitable subjects of Yan Pei-Ming’s new body of work.

Entitled Kung Hei Fat Choi which translates as “a well wish of prosperity”, this exhibition is his second solo in Hong Kong, marking a new chapter in the artist’s decades-long collaboration with the gallery.

Opening reception: Monday, March 25 2-7:00PM

Gallery address: Shop 03-205A & 205B & 206, Second Floor, Barrack Block, Tai Kwun, Central

MASSIMODECARLO Hong Kong is very pleased to present the work of Bertrand Lavier, opening in January 2024.

A central figure of conceptual art, and more specifically in artistic appropriation, Lavier is perhaps best known for his readymades, created by covering everyday industrial objects such as refrigerators, tables, pianos, and furniture with an impasto layer of paint. By altering everyday objects and images, the artist repositions them as elements in a subtle critique of consumerism and deeply entrenched visual habits. Fiercely critical of the fetishization of the art object, Lavier considers his work only fully realized as an exhibition—as a constellation of works that generate meaning exclusively through their interrelationships.

For his presentation at MASSIMODECARLO Hong Kong, marking his fifth solo with the gallery, Lavier has chosen to only present a constellation of artworks on the gallery walls: no sculptures. The exhibition will present examples of various bodies of work, including neon, as well as entirely new pieces created in 2023.

Gallery address: 2/F, Shop 03-205A & 205B & 206, Barrack Block, Tai Kwun

MASSIMODECARLO is pleased to present an exhibition of French artist Jean-Marie Appriou, it will be Appriou’s debut solo presentation in Hong Kong.

Crafted using an experimental approach to working with metal, clay and other materials alongside great technical skill, Appriou’s works evoke archaic forms that intertwine contemporary, mythological and futuristic worlds.

Fascinated by the painting’s morose mysticism, Appriou elaborates on its hypnotic ambiguity. 

Deeply experimental, Appriou’s work is a constant search for new formal possibilities, which he explores through relentless experimentation. By creating uncanny familiar forms, whether animal or human, Appriou has developed a unique, almost alchemical approach to creation, to give life to his very own mythology.

Opening reception: 30 November, 5-8pm

 Gallery address: 2/F, Shop 03-205 & 206 No, Tai Kwun

“But do your work, and I shall know you.”
Ralph Waldo Emerson.

MASSIMODECARLO is delighted to introduce ‘Warp & Weft’, a solo exhibition by the Dutch-born American artist Peter Schyuff. This marks Schuyff’s first solo presentation in Asia. Coinciding with the Hong Kong exhibition, Schuyff will also display a collection of works at the MASSIMODECARLO Beijing space, playfully titled ‘Weft & Warp’. This wordplay emphasises the interchangeability of horizontal and vertical elements and the dynamic interaction of upward and downward forces.

The exhibition will feature new works by the Dutch-American artist together with a selection of historical paintings from the ‘80s and ‘90s. Peter Schuyff is a prominent member of the Neo-Geo movement that emerged in New York in the 1980s. As one of the most innovative artists of his generation, Schyuff continues to push the boundaries of abstract art, exploring new techniques and concepts.

Opening reception: 25 October, 5—8pm

Gallery address: Shop 03-205A & 205B & 206, Second Floor, Barrack Block, Tai Kwun, Central

MASSIMODECARLO is delighted to announce Recent Paintings, a solo exhibition featuring the works of Italian artist Pietro Roccasalva, set to open on August 31st in Hong Kong. Recent Paintings marks Roccasalva's highly anticipated debut solo show in Asia. Centred around his latest creations from 2023, the exhibition will present new pieces from his acclaimed series, La Sposa Occidentale and Just Married Machine.

Roccasalva, a maestro of the enigmatic, weaves together intricate symbols, drawing profound inspiration from literature, cinema, philosophy, and our collective imagination. The resulting artistic repertoire manifests as a complex vernacular and deeply personal iconography. While the exhibited works are indeed recent, they are inseparable from the artist's ongoing exploration, experimentation, and scholarly pursuits, which have been unfolding over the course of two decades.

Opening reception: Thursday August 31, 5-8:00pm

Gallery address: Shop 03-205A & 205B & 206, Second Floor, Barrack Block, Tai Kwun

“I am a creator of rules. And once I’ve created these rules, these games, these mechanisms, I can play or make other people play.”

- Alighiero Boetti, 1984

After nearly three decades since the passing of Alighiero Boetti, one of the greatest artists of the 20th century, MASSIMODECARLO is delighted to announce a group exhibition dedicated to one of Boetti's most cherished artistic mediums: textiles.

In an extraordinary convergence, Thread Routes – title that pays homage to Kimsooja's eponymous earlier works – displays the artistic visions of Alighiero Boetti, Anthony Akinbola, Alvaro Barrington, Sanford Biggers, Zoë Buckman, Sonia Gomes, Thomas Grünfeld, Jessie Homer French, Kimsooja, Helen Mirra, Jordan Nassar, Piotr Uklański, Pae White, and Miranda Fengyuan Zhang, fostering an "impossible" dialogue that defies the confines of time, space, and artistic styles. Textile emerges as the centrepiece, embodying the power of connection. It serves as both subject and object, unravelling the narratives, traditions, and personal stories of each artist. At the intersection of cultures, practices, and philosophies, Thread Routes pays homage to the timeless tradition of textiles, inviting contemplation on the threads that have woven our collective identity.

Through the intricate interplay of every weave and thread, the art of textiles transcends its material form and becomes a gateway, preserving the echoes of history and encapsulating the very essence of time and space. Rooted in this ancient craft, interwoven with delicate knots and bound by resilient threads, Thread Routes unfurls a tapestry of unparalleled artistic expression.

Gallery address: Shop 03-205A & 205B & 206, Second Floor, Barrack Block, Tai Kwun, Central

MASSIMODECARLO is pleased to present New Song We Wrest! Who Throng Heat Yet? Tone Got Flower Work, Tony Lewis’s second solo exhibition at MASSIMODECARLO Hong Kong. The exhibition premiers Lewis’s renowned text works alongside a new series of shorthand writings, which paired together for the first time infuse a new sense of rhythmic vitality to the exhibition.

With New Song We Wrest! Who Throng Heat Yet? Tone Got Flower Work, Lewis invites viewers to reflect on the presence and role of language in our contemporary world and to uncover the hidden messages that are often right in front of us.

Through his discerning use of language, Lewis draws inspiration from a diverse sources, ranging from the lexicon of advertising and consumer culture to more abstract, conceptual philosophical writings. Characterised by a distinctively poetic approach, Lewis’ works reveal the inherent beauty of words and their myriad meanings. New Song We Wrest! Who Throng Heat Yet? Tone Got Flower Work is named after an amalgamation of the works’ titles.

Lewis has a deep fascination for phonetic, linguistic, and pre-lingual markings. Although words may appear straightforward, delving into the realm of linguistics can be incredibly challenging as words carry significant meanings at times and nonsensical interpretations at others. Nevertheless, Lewis has found solace in his marks, which, as he says, seem to “pull [him] out of the abyss of linguistic turmoil”.

Opening reception:
Thursday May 11 from 5:00PM until 8:00PM

Gallery address: Shop 03-205A & 205B & 206, Second Floor, Barrack Block, Tai Kwun, Central

MASSIMODECARLO is pleased to present Aaron Garber-Maikovska’s first solo exhibition with our Hong Kong gallery, entitled Valley Step. The exhibition comprises six of the artist’s fluted poly works, distinguished this time by a textural yellow-ochre background that emanates warmth and evokes the arid southern California landscape where the artist resides.

Living amongst the endless views of the Los Angeles area and surrounded by majestic mountains and boundless desert landscapes, the artist draws inspiration from the vast terrain for the works on display. The exhibition is a merging of disparate worlds, a synthesis of the personal and the universal, the mythical and the concrete, all intertwined within one presentation.

The exhibition presents the organic growth of Garber-Maikovska’s artistry, whose practice extends beyond traditional painting, embracing somatic expression as the heart of his creative process. He channels his body into an instrument of profound introspection and metaphysical exploration, surrendering himself to the flow of intuition and impulse.

Gallery address: Shop 03-205A & 205B & 206, Second Floor, Barrack Block, Tai Kwun

Jenna Gribbon was born in Knoxville, Tennessee, in 1978. She currently lives and works in Brooklyn, New York, US.
Gribbon’s paintings explore the feelings and implications of seeing and being seen. Her paintings are intimate portraits of her friends, partner, family and fellow painters, which encourage the viewer to reflect on their role as a consumer of beauty, and intimacy and as voyeurs of the narratives of others. A focus on vision permeates every layer of Gribbon’s work, with titles such as ‘Ritualized Looking’, ‘Deck Peek’ and ‘When I looked at you, the light changed’. The scenes are painted from Gribbon’s first point perspective, making the artist’s presence felt by emphasising her particular viewpoint. The viewer directly replaces the artist, seeing Gribbon’s subject from the exact position that she occupied in the scene, not only looking at the subject but invited to view Gribbon’s own experience of looking at them.

Gallery address: Shop 03-205A & 205B & 206, Second Floor, Barrack Block, Tai Kwun, Central

MASSIMODECARLO is delighted to present Sending, a solo exhibition by Los Angeles-based artist Spencer Lewis.

“Like sending my love”, said Spencer Lewis when we asked him what he meant by the exhibition’s title. Lewis sends us a message or, rather, a feeling. Smears, caked-up textures and bursts of colour can be read or interpreted as words, parts of a message on the brink of legibility.

Pouring himself on the fuzzy skin of his jute canvases, Lewis draws lines and marks, spraying and splashing paint on a surface that absorbs everything and resists erasure. With chaotic, almost infinite layers, Lewis’s canvases conceal and simultaneously unveil a brushstroke, a gesture over the other, stories and moments culminating and accumulating on the painting’s densest parts.

Lewis’s use of cheap materials reveals an urgency in his practice and wilful attention towards mediums that do not carry the burden of an art historical heritage. Painting on unprimed jute exposes the artist’s instinctual and unruly pictorial language, exhibiting a distressing authenticity and blatant selfhood. Aggressive, bright hues blend in with the earthy tones of the jute, creating crusty patches of colour that hide and store previous signs and brushstrokes. Trapping time and stories, these matted and thick layers of paint are intermitted by empty spaces where the brown-tan jute displays its roughness and the artist’s deliberate disregard to finish.

Gallery address: Shop 03-205A & 205B & 206, Second Floor, Barrack Block, Tai Kwun, No. 10 Hollywood Road, Central

In her first solo exhibition at the gallery, the Chinese artist’s inspiration comes from her personal experiences and observations of society. Interpreted as allegories, her symbolic paintings often reference the female identity, an unwavering resilience, and the essence of life. In the exhibition, the four flower paintings offer a sense of vitality and joy, with bright brushstrokes intertwined with each other. The lively colours represent hope, freedom and unrestrained spirit. Despite having experienced hardship in the 1970s as a teenager, Yan Ping had once declared. ‘Every flower painting is a spiritual refreshment. In the past years, whenever I feel depressed or tired, I would give myself a bouquet of fresh blooms, forgetting connections to the outside world and enjoying the intimate moment with flowers.’

Gallery address: 2/F, Barrack Block, Tai Kwun, Central

MASSIMODECARLO is delighted to present No longer endangered, but vulnerable, Rob Pruitt’s second presentation in Hong Kong and eighth personal exhibition with the gallery since 2012.

Pruitt’s vocabulary is straightforward, minimalist, and above all, highly relatable. Drawing on everyday iconography with sardonic irony, he confronts the viewer with the paradox of modern-day existence: one where the line between hope and dystopia is harder and harder to grasp.

Despite the glitter, the tone of the exhibition is far from lighthearted: indeed, the status of the panda, which was recently declared “no longer endangered, but vulnerable”, echoes like a cautionary tale reminding us that the panda – and everything that it represents – is far from safe from further threats.

The Panda is a highly symbolic animal: not only was it adopted by China as its national animal, but this giant, fluffy bear acquired particularly iconic status in international diplomacy in the 1940’s, in what became known as “Panda Diplomacy” – China gifting giant pandas to other countries in highly symbolic gestures of concord, goodwill and friendship.

Gallery address: Shop 03-205A & 205B & 206, Second Floor,Barrack Block, Tai Kwun, Central

MASSIMODECARLO Hong Kong is pleased to announce Believe in Love, Jing Kewen’s second solo exhibition with the gallery. The exhibition presents the artist’s newest series of paintings portraying his personal collections, including both historical and stylish objects.

Known for painting after black-and-white photographs, Kewen is also passionate about collecting items with hidden stories, including seemingly mundane ones such as Coke cans and sneakers. These still-life objects, as witnesses of history, all come from different periods and have diverse backgrounds. To take an example, “Believe In Love 2022, No.3”, a limited edition Coke can with an image of a clown is depicted. The clown refers to a well-known circus from Russia, whereas the Coke brand itself is a potent symbol of American Culture. Through mixing meaning and image, the artist expresses a desire for global peace. The clown represents people who seek joy amidst sorrow and suffering, who pretend to be happy in the turbulent world- which may be many of us today.

Kewen enhances such meanings through clean and elaborate brushstrokes, and pure backgrounds which further focus the detailed renderings of subjects. The rich and vibrant colours offer a dreamlike effect in the paintings, which leads viewers to wonder if the subjects are real and authentic.

This exhibition incorporates history, politics, fashion, and cultural narratives, which ultimately lead to the concept of love — the strongest connections between human beings and the primary needs of the world today.

Gallery address: Shop 03-205A & 205B & 206, Barrack Block, Tai Kwun, No. 10 Hollywood Road, Central

MASSIMODECARLO Hong Kong is pleased to present Freddie Mercury, Brian Rochefort’s third exhibition with the gallery, and his first solo presentation in Asia.⁠
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Let us address the elephant in the room: how did iconic rock star Freddie Mercury make his way into Brian Rochefort’s exhibition? Like much of Rochefort’s practice, these new works are highly informed by his travels. When discussing the exhibition, Rochefort explains that the starting point for the show came from his 2018 trip to East Africa, notably through Tanzania and Zanzibar. Over the course of those three weeks, Rochefort repeatedly noticed posters, figurines and knickknacks of Freddie Mercury scattered around various towns. At the time, Rochefort was unaware that Freddie Mercury was born in Tanzania and is regarded as a national treasure.⁠
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The unexpected connection of Mercury’s heritage - and the notion of clash and cluster between apparently distance universes - prompted Rochefort to explore concepts of limit and dissonance, which are associated in his own practice. He picked up listening to the very familiar music of Queen with a different understanding, driven by Freddie Mercury’s diverse approach to rock music and tradition – a perspective that Rochefort similarly maintains in his own practice by pushing the limits of a historically developed medium, that of the clay. A ‘kindred spirit’ is how the artist describes this association.⁠

Gallery address: Shop 03-205A & 205B & 206, Second Floor, Barrack Block, Tai Kwun, No. 10 Hollywood Road, Central

MASSIMODECARLO inaugurates our new gallery space with The Extinction Agenda, Sanford Biggers’ first solo exhibition in Hong Kong and his fourth with the gallery. The exhibition offers new works belonging to the artist’s ever-evolving Codex and Chimera series. At the heart of both series lies a debt to the open communication of knowledge and tradition between different cultures and nations. The exhibition’s title is inspired by one of the artist’s favorite musical albums, by hip-hop duo Organized Konfusion.

Sanford Biggers’ artworks travel across history and place, compressing time and geography by drawing together disparate aesthetics, humanities, and concepts. Though starkly opposed in their choice of materials, the quilt works of the Codex series and the marble Chimera sculptures question the nature of authenticity, authority and origin. The works in both series are created by patchworking together multiple opposing elements to create a new singular object, placing the original source material within a transgenerational and trans-national dialogue. The artist sees these as not only contemporary objects but ‘objects for a future ethnography’, encouraging their provenance and object relationships to be studied, researched and continuously reconsidered.

Gallery address: Shop 03-205A & 205B & 206, Second Floor, Barrack Block, Tai Kwun, Central

MASSIMODECARLO gallery is pleased to present 'A Stapled Glass', the first solo exhibition in Hong Kong by Nashville based artist Shannon Cartier Lucy. Shannon Cartier Lucy’s oil paintings conjure a dreamlike world of domestic melancholy, with tensions moldering just below the surface. Lucy received her bachelor’s degree from New York University, where she studied under painter Lisa Yuskavage. She quickly gained recognition in the art world, exhibiting alongside Genesis P-Orridge and Banks Violette at Team Gallery and mounting two solo shows in as many years. In 2011, she left New York and returned to her hometown of Knoxville to pursue a master’s degree in experimental psychology at the University of Tennessee. After a decade-long hiatus, Lucy made her art-world comeback in 2020, presenting a sold-out solo show at Lubov Gallery in New York. The show was critically acclaimed for its disquieting tableaux rendered in a muted palette that suggests the fogginess of memory and the unconscious.

Gallery address: 3/F, Pedder Building, Central

Massimo de Carlo is proud to present a solo exhibition by Monster Chetwynd in its Hong Kong gallery.

Chetwynd’s practice combines performance, sculpture, painting, installation and video. Her performances and videos harness elements of folk plays, street spectacles, literature and multiple other genres. They generally employ troupes of performers – friends and relatives of the artist – and feature handmade costumes and props. For over a decade, she has also worked on an extensive series of paintings collectively titled Bat Opera.

Monster Chetwynd (born Alalia Chetwynd, 1973, best known as Spartacus Chetwynd and Marvin Gaye Chetwynd) is a British artist known for reworkings of iconic moments from cultural history in improvised performances. In 2012, she was nominated for the Turner Prize.

Gallery address: 3/F, Pedder Building, Central

Marlon Mullen (b.1963) has an autistic spectrum disorder and expressive aphasia and since 1986 he’s a resident of NIAD art centre (Nurturing Independence Through Artistic Development) in Richmond, California. Rarely using spoken or written language in his daily life, Marlon has found a way to interact with the outer world through the medium of painting the front pages of art magazines and auctions catalogues. Using rich and energetic brushstrokes, the artists reveales his strong desire to communicate his real inner nature, a personal story made of vibrant colours.

Gallery address: 3/F, Pedder Building, Central

MASSIMODECARLO is pleased to present Empire of cotton – the Buddha, the first exhibition of Zhao Zhao with the gallery.
The show will present a new series of paintings and a newly produced video work.

In the body of work, Zhao Zhao reinterprets his strong links to the Buddhism doctrine through a painting intended as a multidisciplinary language. Indeed, the series consists of both works in which minimalist and geometric forms appear linked to the symbolism of the Buddhist religion and works in which calligraphy is used as a means to bring the viewer closer to portraits and the figure of the Buddha.

Zhao Zhao was born in Xinjiang, China, in 1982. He graduated from the Department of Oil Painting with a BFA from the Xinjiang Institute of Arts in 2003. He worked as Ai Weiwei’s assistant before he became an influential artist of the young Post-80s generation of contemporary Chinese artists.

Gallery address: 3/F, Pedder Building, 12 Pedder Street, Central

MASSIMODECARLO is pleased to present Paola Pivi’s new solo exhibition “Why not?” with the gallery and the artist’s first one in Hong Kong, nine years after her majestic solo show at Rockbund Art Museum in Shanghai “Share, but it’s not fair.” The show will present one new and first-time seen body of work titled “Bear foot”, along with three iconic works by the Italian artist.

The whimsical creations by Paola Pivi could be all seen as a joyful triumph of pleasure and abundance which, paired with their representational contents, offers a new interpretation of reality. Encompassing different mediums, varying from large-scale installation to photography, sculpture and performance, the artist mesmerizing use of varied media translates enticing real life matters into a light-hearted vocabulary of art.

Gallery address: 301-302 Pedder Building , 12 Pedder Street, Central

Massimo De Carlo is proud to present temporary gallery pop-pp at K11 MUSEA with showcase of works by Paola Pivi and Lu Song.

An idea incubator and a magnifying glass into the gallery’s artists and programs, this new Pop-up space interacts with a very vibrant side of the city of Hong Kong and collaborates with the many activities at Victoria Dockside.

Presenting a series of dedicated exhibitions open to the public throughout the end of May, MASSIMODECARLO Gallery Pop-up is an innovative exhibition concept that enhances a new dialogue between the artworks and the context.

Venue address: 610, K11 Art & Cultural Centre, K11 MUSEA, 6F, Tsim Sha Tsui

Massimo De Carlo is pleased to announce Purple Skin, the third exhibition of Chinese artist Lu Song with the gallery.

Lu Song’s interest and artistic inspiration derives from imaginary places and poetic environments: from his early works depicting dark green leaves – a glimpse of jungle foliage, water and flowers – to hismost recent magnification of powerful purple flowers the artist reflects upon the power of nature and the means of absorbing and returning it.

While Lu’s painterly techniques have evolved in the past few years, his interest has been mostly focused on situation and their atmosphere. The mystical figures determined by a thin silhouette that inhabited his early canvas have now disappeared, leaving space to the feelings and the emotions that these characters once conveyed. A valley, a swamp, a dense jungle or a flower are not painted to project the image of themselves, these are instead tools Lu Song uses to express feelings, memories and emotions.

Gallery address: 3/F, Pedder Building, Central

For his first solo exhibition with Massimo De Carlo, Jing Kewen presents a selection of works created across the span of 20 years. The exhibition narrates a journey through the artist’s oeuvre highlighting a language which has made him a unique voice among his peers. As a member of the Chinese avant-garde, Kewen has nonetheless chosen to accept a “new era” beginning in the 1990s, influenced by globalization and post-modernism.

Instead of a critical or satirical depiction of these changes, Kewen re-examines and re-evaluates the past with a multifaceted perspective. As a Realist artist, Kewen has worked to make his highly believable paintings seem as objective as possible. His recurrent theme is that of China just after the Cultural Revolution: a time of both hardship and idealism that may seem unreal with the country’s commodification of the current time. From his early works executed en plein air like The Patient, 1996, and Going to Bolin Art Museum, 1990, (the latter being one of the best examples of his series of “ Spring” and “Autumn,” which are Kewen’s favorite seasons for the mild temperatures and vivacious colours) his style is determined by an unconventional use of a wide palette, the unusual juxtaposition of colours, with a vast variety and freedom in his brushstrokes.

Gallery address: 3/F, Pedder Building, Central

Massimo De Carlo in Hong Kong is pleased to present LOVE POWER, a new solo exhibition by Jim Hodges, the second with the gallery, and the first presentation of Jim Hodges’ work in Asia.

The exhibitions presents five new works that use some of the artist’s signature materials such as glass, 24 karat gold leaf, acrylic on linen, and linked-together metal chains forming spider webs: that are icons within Hodges’s career which spans over thirty years. The subtle allusions to natural landscapes (such as the sky, the reflections of water, the outline of trees and flower petals) are translated into abstraction. The meticulousness of the materials urges the viewer to intimately interact with the work up-close. In fact, many works focus on our perception of time and gravitate towards scenes of transformation.

Gallery address: 3/F Pedder Building, Central