CNTRFLD.ART is pleased to be joined by Sophie Hing Yee Cheung, a Hong Kong-based artist, poet, and disability justice activist whose multidisciplinary practice seamlessly intertwines art, advocacy, and personal experience. Sophie chats with CNTRFLD.ART ahead of her solo exhibition in London, “Twisted Limbs”. With a background in fine arts and a lifelong commitment to disability rights, Sophie uses her work to challenge societal norms and explore complex themes such as dignity, in-betweenness, and the paradoxical fusion of subject and object. Her thought-provoking art, recognised with prestigious awards like the Hong Kong Human Rights Arts Prize, and her dedication to social inclusion make her a compelling voice in contemporary art and activism. Today, Sophie shares insights into how her identity, experiences, and advocacy have shaped her unique artistic vision.

CNTRFLD. How has your identity as a Hong Kong native and your upbringing influenced your artistic vision and the themes you explore in your work? 

SC. Let me respond to this question through poetry, specifically a poem of mine that was published in Voice & Verse Poetry Magazine 《聲韻詩刊》in April 2023. As a Hong Kong native, I often find myself navigating within or transiting in between the turning points of Hong Kong history. I explore the idea of “in-betweenness.” Synecdoche and metonymy are tools of that orientation process which will be unveiled in one of my new works, titled Limb and Skin. This moving image captures my daily life during MLS Artist Residency (MLSAR) and serves an open-ended meaning of the entire narration in the show.

Baggage Shell and Cold Strand (translated by Christy Cheung)

In a foreign land

Memories radiate the familiar summer heat in the public housing

An empty baggage shell lies in the centre of the basketball court sunbathing

A rectangular clam trying to swallow memories but struggling

No pearl

No dream

Against the fabric backdrop hung on the wired fishnet screen

Is the owner leaving?

Perhaps only travelling?

The flag is as red as it has been,

Only it takes on the wired scale print

White flower and stars swirl and twirl

Built-in fences on the bridge entrap the sheer feelings

The sky is a towering ceiling

The climate has us turn on flight mode

But unlike phone’s airplane symbol

Distance knows no energy-saving

Fuel price on the other side keeps rising

What a long route we are taking

I thought

he and she would never leave for good

yet in foreign lands they take root

Rise and fall a perpetual natural law

Nothing can stop fallen branches

from nourishing the cold strands in batches

They are merely hair caught in shower drain

What makes them spout and persistently remain

I thought

I would never grow my hair long again

Dye and perm and keep it plain

Now only light curls remain

Under the sun

Under the ominous night sky

Flames are ignited all over

Their slight curls follow the wind and coil higher

The difference is hair needs to be cut shorter

Yet flames have long been planted in foreign soil

Swirl and twirl

Notes

1) “Baggage shell” implies both the luggage itself (the container is commonly referred as “shell”) and clam shell that is burdened with a baggage of memories.

2) “孟蘭” does not have an English name, only “Yu Lan”, so I translated the mood instead of the name itself.

Original poem written in Chinese

箱蚌與冷髮

身處異地
想起公屋夏炙炎炎
箱蚌無物躺曬球場中央
不足吞下記憶的方形蚌
並無珍珠
刷日無夢
鐵魚網上晾乾天角
主人準備移民嗎？
抑或只是去旅行？
旗仍是鮮紅的
只是染上網的鱗片
白花與星星旋陀螺

天橋加固的格網牢守赤的方寸
天空是懸挑破雲的天花板
天氣的飛行模式啓動
別於手機上的飛機標示
天涯不會省電
那頭能源費急升啊
咁遠水路過嚟

曾以為
那個人這個人不會走的
現在卻在異鄉盤根
枯榮與日不落
阻擋不到四處散落的爬枝
落地滋生蓬鬆的冷髮堆
不過是洗澡時卡住去水位的頭髮
怎麼會拔出來長在路沿屹立不倒

曾以為
自己不會再留長髮的
染色電乾淨髮色
現在剩下微捲
陽光底下
孟蘭天晚
街頭四處燃燒起火焰
微微彎曲捲著風上揚
不同的是髮還是要剪的
火焰卻早早種在異地
旋陀螺

CNTRFLD. You’ve been diagnosed with schizophrenia from a young age and have used art to resist stereotypical discourses. Can you share how this experience has shaped your artistic language and the way you approach your art practice?

SC. It’s true to say that my passions and beliefs flow directly from personal experience during formative years. I was diagnosed with schizophrenia at the age of 13, and for eight years as a teenager and young adult, I was prescribed psychiatric medication from 1996 to 2004. I stopped the medication with the psychiatrist’s suggestion and approval.

I have come to see art as a liberating force; I firmly believe that my art combats entrenched viewpoints, clichés and stigmas about mental health. By establishing and developing my own language of self-expression, I took ownership of an authentic and empowered life. ⠀⠀

CNTRFLD. Your work often explores the concept of 'in-betweenness' and paradoxes. How does this theme connect with your experiences in disability justice advocacy and your reflections on dignity?

SC. Given my experience in human rights advocacy, my thoughts on life often return to the ideas of in-betweenness and paradox. They are inextricably connected. For example, in my Erasing News series, I harnessed erasers and newspapers to simultaneously express a sense of adding and subtracting. This paradoxical act of “erasing as painting,” allows a delineation of the passage of time as well as the transformation of colour.

My recent work in Clapham was closely linked to the theme of dignity, its characteristics, meanings and attributes. I think that the dignity of nature pertains to evolving into its original and organic form, while also adapting to climate variations, social intervention, and the laws of nature. That raises questions for me when considering how humans can truly affirm subjectivity.

CNTRFLD. You’ve had a diverse career, blending activism, writing, and art. What initially inspired you to pursue a career in the arts, and how did you embark on this journey?

SC. My understanding of in-betweenness is also a resistance to barriers. This is important in activism and understanding of disability. My art allowed me a freedom of expression which was an important outlet to me in personal struggles. Today, my work tends to have open-ended meanings by clearing away the ingrained cultural-political context of objects or materials and exploring original materiality. Within this process, my own approach to art emerges.

CNTRFLD. As a woman in contemporary art, particularly one who is also a disability justice activist, what unique challenges have you faced, and how have they influenced your work?

SC. Whilst barriers and challenges remain, I am also seeking to resist boxing myself into narrow or particular identities. Men tend not to highlight themselves as “male artists.” Women, however, may find themselves categorised as “women or female artists.”

CNTRFLD. Your artistic practice involves using materials like plastics to express simultaneous construction and deconstruction. What draws you to these materials, and how do they help you convey your ideas? 

SC. I am intrigued by the in-betweenness of materiality. The materials I use are diverse and varied. Each freestanding medium enables objects to transition into subjects. Through the gradual process of creating my Erasing News series, the eraser diminishes in volume while intensifying in colour transformation. The newspaper loses colour when it accumulates more marks from household objects.

I am also interested in the evolutionary progress of nature. I observe its forms, colours and texture growing in their own ways without the need to adjust to the surroundings. It is nature’s free will to grow and live (as long as the climate allows it). I find it fascinating and believe that there are patterns in nature that human beings would be wise to follow. In a sense, my own artistic language allows me to embrace a personal evolution into an open-ended inner world, leaning into self-realisation and self-expression.

In my new CMYK series of paintings, inkjet printer ink is used as a painting pigment, liberated from the printing process. Its functional change sparks transformation and transition. What intrigues me is that four colour plates become compatible as a result of the interplay between repulsion and absorption on the specific paper. The plastic coating of the paper filters the industrial ink plates, CMYK, to manifest textures and colours of nature and colours shown in tomography produced by technology. Surprisingly, the bottom layer of colour appears more prominently and becomes a rather neon-like tone in time.

On the other hand, I used erasers and UK newspapers, rubbing them on domestic objects such as plants, lamps, and tables to build distinctive folds and patterns, to explore the memories of each object in the residency home. I also rubbed erasers on the tree trunks and stumps to touch on the passage of time tracing the tree that had been felled by humans. My work often finds links between the natural world and the human one.

CNTRFLD. You’ve written extensively on disability and the psychosocial experience, including your book ‘Disabilities CV.’ How does your work in writing intersect with your visual art, and how do both mediums contribute to your advocacy? 

SC. My general hope is to transform my experiences into a positive for the community. Specifically, I believe in upholding the United Nations Convention on the Rights of Persons with Disabilities (CRPD), which I have worked on implementing in Hong Kong since 2012. In 2015, I published Disabilities CV: The Stories of the Persons with Psycho-social Disability in Hong Kong, a book that examines and re-conceptualizes the multi-faceted meanings of disability and the disability experience, in an attempt to affect a paradigm shift towards social inclusion. My work involved challenging the dichotomous and dialectical relationship between people with disabilities and those without, as well as the barriers and resources allocated to the vulnerable and to the advantaged. ⠀⠀

My studies and interest in mental health link closely to my art practice. My dissertation at Goldsmiths was on the subject of (de)colonising madness, with a comparative study on mental health issues and legal capacity between Hong Kong and Britain. I was mostly inspired by the sociologist and philosopher Zygmunt Bauman. In Liquid Modernity (2000), Bauman pointed out a tension between de jure (jurisprudential individuals) and de facto (factual individuals). He writes of the struggle to “gain control over their fate and make the choices they truly desire.” By unleashing the true potential of all the materials that I use in my art practice, this is my way of realising my true self or being de facto in Bauman’s terms.

For example, in CMYK Painting: Embodies Coral and Human Brain, coral on the seabed bonds with a scan of the human brain, an exploration of my own inner dilemmas and quest for self-discovery.

CNTRFLD. You’ve been recognised with significant awards, such as the Hong Kong Human Rights Arts Prize. How has receiving these accolades impacted your career and the direction of your art?

SC. The most recent award led directly to my latest body of work. In 2024, I was delighted to be awarded the MLS Artist Residency, hosted by Schoeni Projects in London. Clapham Common became a studio, and a space where I developed my Erasing News series, along with a completely new collection of inkjet printer paintings.

Whilst in London, I drew additional inspiration from the tree stumps across Clapham Common and began to see manifold meaning in their form. They immediately conveyed the idea of a kind of peaceful violence. I was struck by the dichotomy of the morbid state of those stumps, with the shelter they gave to so many life forms. It seemed to run counter to the human perception of life and death. These stumps were plentiful in public areas in London, and each seemed to document the passage of time in their own unique shape, which resonated strongly with the role of time in my work.

The stumps’ monumentality became personal to me, and a haven of memory and mourning. Whilst in London, I lost friends and mentors to unrelated illnesses, including a mentor in disability rights advocacy who first brought me into the Transforming Communities for Inclusion (TCI-Global) family in 2014, Dr. Bhargavi V.; another mentor and fellow equality advocate Graham Dowdall, lecturer at Goldsmiths College, with whom I collaborated during my MA in Anthropology and Community Arts between 2020 and 2022.

In my new CMYK series of paintings, inkjet printer ink is used as a painting pigment, liberated from the printing process. In other works, from my residency, I used erasers and UK newspapers, rubbing them on domestic objects such as plants, lamps, and tables to build distinctive folds and patterns.

CNTRFLD. As someone who has navigated both the art world and the realm of disability rights, what advice would you give to aspiring artists, especially those who wish to merge their creative practice with social justice work?

SC. I believe in the value of education as an important catalyst to my advocacy and to my practice. My MA experience at Goldsmiths was a transformational one for me, and I now consider London my second home. I think education is important where possible.

Additionally, surrounding oneself with good influences is important. For example, I found inspiration in Graham Dowdall’s album Komorebi. When he died, I visualised his music in my artwork Erasing News: Komorebi for Gagarin. When working with Graham, I felt that I was treated as a whole person. He understood my loneliness, and the struggle of navigating the boundaries of being a student both of a legal system and of art. He also had a dual identity as a defence lawyer as well as being a community music educator and music composer. Specifically, I learned from him about the “affirmative model” of disability rights and the history of community engagement in the UK. This remains an influence on me, underlining the value of self without comparison with others. I think this is a valuable point for our own self-worth when we seek to create.

Recently, throughout my residency with Schoeni Projects, I reaffirmed my belief in treating myself as a whole person. This does not mean being perfect. It means acceptance of the whole self, accepting weaknesses and strength in co-existence, eliminating “ready-made” language and approaches in art practice. Acceptance of imperfection is critical for all artists.

CNTRFLD. Looking ahead, how do you envision your work evolving, particularly in relation to your ongoing studies in Applied Anthropology and Community Arts? What new perspectives or directions do you hope to explore?

SC. I am working to foster intersectional studies, by bringing religious philosophy, especially Buddhism, into my research project titled Decolonising Madness

'Twisted Limbs - a solo show by Sophie Hing Yee Cheung' takes place in
two locations in Clapham Common, London.

4 – 15 December 2024

Omnibus Theatre Café Bar 1 Clapham Common North Side, London SW4 0QW

8 – 15 December 2024

The MLSAR Residency Home Flat 1, 36 The Chase, London SW4 0NH

About the artist.

Sophie is a Hong Kong-based artist, poet, and disability justice activist. She received a bachelor’s degree in fine arts from RMIT and Hong Kong Art School. She completed an MA in applied anthropology and community arts at Goldsmiths, University of London in 2022, with her dissertation titled '(De)colonising Madness: Ethnography of Mental Health and Legal Capacity in Community Arts Practice between Hong Kong and Britain'.

Cheung experienced the power of art in self-actualization and the elimination of a stereotypical discourse in relation to her diagnosis with schizophrenia at 13 years old, and ensuing psychiatric medication from 1996 to 2004. In her early career, in Hong Kong, she devoted herself to community building and the implementation of the United Nations Convention on the Rights of Persons with Disabilities (CRPD). In 2015, Cheung published 'Disabilities CV: The Stories of the Persons with Psycho-social Disability in Hong Kong'* which examines and re-conceptualizes the multi-faceted meanings of disability and the disability experience in an attempt to effect a paradigm shift towards social inclusion, challenging the dichotomous relation between barriers and resources. With her experience in human rights advocacy, she explores in-betweenness and paradox: acts of simultaneous addition and subtraction which are a transformative philosophy of life. Her work seeks to maintain a careful equilibrium of construction and disintegration. Reminiscent of classical painting yet rooted both in contemporary social issues and personal history, her practice harnesses found objects in oblique reference to Arte povera and mono ha. Her use of plastics delineates the passage of time and allows her to draw comparisons between the understanding of colour and art history in east and west.

Cheung was a finalist for the prestigious Sovereign Asian Art Prize 2023. Other awards include the first runner-up for the Hong Kong Human Rights Art Prize (2018), the Leap Initiative Hong Kong Emerging Artist Award and the Art Next Hong Kong Artists Award (Bronze) (both 2017). Her first solo show was Erasing Time at Ora-Ora in Tai Kwun, Hong Kong (2022), and Erasing Time: Backwards and Forwards (2023) was her second. Notable art fairs include Asia NOW Paris (2022 & 2023) and Art Basel Hong Kong (2023 & 2024).

‘I feel like something is missing because I still have not transformed my enthusiasm and reflections of my experience in disability justice advocacy through the trials and errors in my art practice, especially when it comes to my thoughts about “dignity”: How to affirm subjectivity and integrity?’ – Sophie Hing Yee Cheung

*Author: Sophie Hing Yee Cheung. ‘Disabilities CV: The Stories of the Persons with Psycho-social Disability in Hong Kong’ 《殘疾資歷:⾹港精神障礙者⽂集》was published by Dirty Press in two editions in Hong Kong in 2015 and in Hong Kong and Taiwan in 2017.

Getting to know Cheung more:

Mental Incapacity: Politics of Legal Subjectivity「精神病」：主體⼈格的政治

AFIELD Study 2022 'The Construction of Ableism' Day 1, HISTORY, INSTITUTIONS, LANGUAGE with Amanda de Sá Paschoal, Leroy F Moore Jr and Sophie Cheung. Her presentation topic: "Language, power and ideology: Mental Incapacity and mental health in Hong Kong and Britain"

CREDITS:

Sophie Hing Yee Cheung illustrated by Maria Chen.  Original photo, courtesy of the artist

All Artwork © Sophie Hing Yee Cheung

Courtesy of Schoeni Projects

Artwork:

1. Erasing News: Komorebi for Gagarin, 2024 Signed on the lower right edge UK newsprint ink on erasers 60 x 43.5 cm 63 x 46.8 cm framed

2. Erasing News: While the Stump Traces a Woman's Body, 2024 Signed on the lower right edge UK newsprint ink on erasers 77 x 41.3 cm 80 x 44.8 cm framed

5. CMYK Painting: Embodies Crystal, 2024 Inkjet printer ink on paper 21 x 14.8 cm 22.5 x 16.3 cm framed

Photo by Leon Kong

6. CMYK Painting: Embodies Flower Bud as a Human Heart, 2024 Inkjet printer ink on paper 21 x 14.8 cm 22.5 x 16.3 cm framed

Photo by Leon Kong

7. CMYK Painting: If There is a Heart Inside the Tree Trunk, 2024 Signed lower left Inkjet printer ink on paper Paper size: 42 x 29.5 cm

Photo by Leon Kong

8. CMYK Painting: Veins, Going Crazy, 2024 Signed lower right Inkjet printer ink on paper 127 x 84.1 cm 141 x 97.3 cm framed

Photo by Leon Kong

9. CMYK Painting: Withered Flowers and Tree Cross Sections, 2024 Signed lower right Inkjet printer ink on paper 42 x 29.5 cm 55 x 42.8 cm framed

Photo by Leon Kong

10. CMYK Painting: While the Stump Lies on the Street, 2024 Signed lower right Inkjet printer ink on paper 133.6 x 84.1 cm 146 x 97.3 cm framed

Photo by Leon Kong