# ititcheung ## Posts - [Still in Hong Kong](https://ititcheung.com/still-in-hong-kong/): Still in Hong Kong Scarlet Yu and Xavier Le Roy 2021 After more than a year of global slowdown and restricted mobility, the artists and choreographers Scarlet Yu (b. 1978, Hong Kong; lives in Berlin) and Xavier Le Roy (b. 1963, France; lives in Berlin) examine the notion of stillness in Still in Hong Kong, a performative proposition developed in collaboration with 22 performers who currently reside in Hong Kong. The word “still” holds multiple meanings as it refers not only to something “motionless” but also“quiet” or “calm”, as well as “up to this time”, “nevertheless”, or a “frozen excerpt […] - [การแตกตา (budding)](https://ititcheung.com/budding/): การแตกตา (budding) wild Chinese Ixora’s androecium with resin, 2023/2024 การแตกตา (budding) explores the relationship between parent and child through a metaphor inspired by asexual reproduction in plants. In this process, the parent produces an offspring that remains attached until it can live independently, reflecting the bond between parent and child. Using wild Chinese Ixora’s androecium preserved in resin, the work symbolizes the passing of knowledge and experience from father to child. This delicate balance of attachment and separation echoes the universal struggle of children growing up—carrying the legacy of their parents while seeking their own identity. The artwork also reflects […] - [In Absence, Duality Remains](https://ititcheung.com/in-absence-duality-remains/): In Absence, Duality Remains Resin, Jade White Marble 20.5 x 20.5 x 12.5 cm 2024 At the age of 11, my father’s presence receded into the background of a small, partitioned room where my mother and I began a new chapter. His final gesture of care was to replace the lock—a silver knob, cold yet symmetrical, laden with unspoken emotions. The lock became both a bridge and a barrier, embodying the duality of our relationship: a bond that was both secure and distant, present and absent. Through this piece, I reflect on the ways we inherit traits and mannerisms from […] - [I see พญานาค (Phaya Nāga) elsewhere ](https://ititcheung.com/i-see-phaya-naga-elsewhere/): I see พญานาค (Phaya Nāga) elsewhere  single-channel video, 1080p, 16:9, H.264, colour & sound (stereo) 12 min 12 secs Chinese & English subtitles, English audio 2023 The artist’s first solo return to Bangkok is filled with a sense of navigating between the unfamiliar yet familiar, and the familiar yet unfamiliar. Through technological fantasies of an alternate self unexplored in Hong Kong, they question artificial intelligence, hoping for a complete answer. They also emulate the lifestyle and beliefs of local youth, seeking to uncover their own understanding of identity in the present. - [Mirror, mirror, what is my colour and number of the day](https://ititcheung.com/mirror-mirror-what-is-my-colour-and-number-of-the-day/): Mirror, mirror, what is my colour and number of the day Etching on mirror stainless steel 62.2 x 44.8 x 3.5 cm (with nut-brown frame) 2023 In the early morning of Songkran, the artist purchased their own first lottery ticket in front of a Buddhist temple. Amidst the dense array of lottery tickets, they searched for the combination of numbers that would bring them luck. They then entered the temple to pay their respects. Upon leaving the temple, they discovered that the lottery ticket had vanished from their pocket. As they retraced their steps, there was no sign of it. […] - [Suspended reverence](https://ititcheung.com/suspended-reverence/): Suspended reverence Crimson carpet, found table, iron, jasmine samba aroma, stainless steel 123.7 x 118.5 x 134 cm 2024 Suspended Reverence delves into myth and memory through the symbol of Phaya Naga, a legendary creature believed to dwell in hidden realms beneath the water. Drawing on the mystery of Kham Chanod Forest—a place in Thai folklore where a portal to another world is thought to exist—the artwork evokes a liminal space suspended between permanence and change. The crimson carpet and industrial elements like iron and stainless steel establish a site of reverence, embodying resilience amid constant transformation and displacement. Informed […] - [House of the holy](https://ititcheung.com/house-of-the-holy/): Photo courtesy by Siu Nam HO House of the holy found wooden temple, Thai mattress, programmed USB fans, cables 35 x 35 x 177 cm 2023 A wooden temple abandoned by others, its deities perhaps relocated. The artist picks it up in Bangkok and places it in an exhibition in Hong Kong. Surrounded by small fans that display colorful words, it is embraced by the temple like vines, protected by the Phaya Naga, quietly waiting to be revered once again by people. - [Ubiquitous, never say goodbye](https://ititcheung.com/ubiquitous-never-say-goodbye/): Ubiquitous, never say goodbye Reverse inkjet printed on soaked paper with crimson acrylic frame 30 x 21 x 4 cm (with frame)  2023 Ubiquitous, Never Say Goodbye serves as a poignant reminder of the artist’s connection to familiar landscapes, evoking memories of nature within the bustling cityscape. Through the lens of this artwork, the artist revisits the Ubiquitous, Never Say Goodbye draws on the artist’s personal memories of nature amidst urban environments, particularly the connection to wild Chinese Ixora. The delicate presence of the erased phrase, “never say goodbye,” subtly invites viewers to look closer, uncovering a sense of loss […] - [The flower is red, is sweet and is dead: ขอโทษ (apologies)](https://ititcheung.com/the-flower-is-red-is-sweet-and-is-dead-apologies/): The flower is red, is sweet and is dead: ขอโทษ (apologies) Vodka, wild Chinese Ixora without the androecium, glass bottle 15 x 15 x 23 cm 2022/2024 During the blooming season of the wild Chinese Ixora, I engage in the ritual of picking and tasting its nectar—a memory from my childhood in Thailand, now relived in Hong Kong. Despite the sweetness remaining elusive, this act, once shared with my father, captures the essence of our fading memories and evolving relationship. Strangely, the wine I taste now holds a newfound sweetness, echoing reflections on time and cultural narratives. 在野生仙丹花盛開的季節，我重溫採摘和品嚐花蜜的儀式——這是我在泰國童年時的記憶，如今在香港再現。儘管花蜜的甜味依然難以捉摸，這項曾與父親共享的行為捕捉了我們漸行漸遠的記憶和變化的關係。奇怪的是，如今品嚐的酒似乎多了一絲甜味，彷彿在迴響時間和文化敘事的反思。 - [Forgotten faces, remembered tags](https://ititcheung.com/forgotten-faces-remembered-tags/): Forgotten faces, remembered tags Digital family photo, double lenticular prints 102 x  60 cm 2023 Family photos are no longer the private treasures they used to be, confined to the eyes of family members. They are uploaded to social media, automatically recognized and tagged, capturing details like appearances, locations, time, and even weather as data. The artist has forgotten the relatives in group photos and the once familiar places. When a series of similar landscape family photos is handed over to mechanical analysis, it yields a string of keywords, which are then reinterpreted to reveal the essence of these unfamiliar […] - [Trigger the Lost Past Pass](https://ititcheung.com/trigger-the-lost-past-pass/): Trigger the Lost Past Pass 1080p digital video, triple-channel, 16:9 format, colour & sound (stereo), 8 fps 04 min 01 secs Chinese & English subtitles, Thai audio 2020/2022 Created as a variation of Symbiosis with Weeds (2020-). The script is written in my third language, Chinese; translated with an online platform into my second language, English; re-translated and recorded in my mother tongue, Thai. Explore the past by intervening in the dissimilarity between present and individual memories through an environmental identity. In understanding the sense of belongings with the inter-relationship between language, culture, environment and memories. A fragmentation of sequences […] - [When I can see you through the fence only](https://ititcheung.com/when-i-can-see-you-through-the-fence-only/): set of 16, 205.6 x 155 cm (single), 1644.8 x 310 cm When I can see you through the fence only Inkjet print Dimensions variable 2021 The place behind the fence has no entrance, and it was abended for more than 20 years. A young lady told me that it was a government’s dog pound before, but she never saw it, so did I. I do not hear the howling but only see the branches weave in and out, and weeds have grown on the wall. I spent eight weeks shooting the only two weeds that grew at my eye […] - [Untitled (Victory Harbour)](https://ititcheung.com/untitled-victory-harbour/): Untitled (Victory Harbour) Reverse inkjet printed on soaked paper with crimson acrylic frame 31.7 x 22.8 x 3.8 cm (framed)  2022 - [Loneliness Blue](https://ititcheung.com/loneliness-blue/): Loneliness Blue single-channel video, 1080p, 16:9, H.264, colour & sound (stereo) 05 min 20 secs 2019 There is a kind of loneliness when you experience in deep water, no lights, no creatures, but just yourself, your breath, and the sound of water. Manifesto Video is anything, but also nothing Video is a toolA tool that takes dimension pioneers like humans to take the road out; unfolds human feelings like arm extensions; reconnects me with the environment, life reconnecting to wifi; and regroups the mind and body. If I don’t have tools, or if I’m still piecemeal, pure emotions, pure flesh, […] ## Pages - [+ exhibitions](https://ititcheung.com/exhibitions/) - [+ artworks list](https://ititcheung.com/artworks-list/): Works List (Sort by Date Created) 2024 | In Absence, duality remains 2024 | Suspended reverence 2024 | Empty Shore Echoes 2023 | Forgotten faces, remembered tags 2023 | Familiar features 2023 | Ubiquitous, never say goodbye 2023 | Mirror, mirror, what is my colour and number of the day 2022 | การแตกตา (budding) 2022 | The flower is red, is sweet and is dead: ขอโทษ 2022 | Trigger the Lost Past Pass (2022 Edition) 2022 | Beaches outbreak 2021 | When I can see you through the fence only 2021 | Non-titled (Digital soma) 2021 | Access to the […] - [+ bio](https://ititcheung.com/bio/): CONTACT email: ititcheung@gmail.cominstagram: https://www.instagram.com/ititcheung ORCID https://orcid.org/0009-0000-6231-3166 DONWLOAD Weera-it Ittiteerarak (b. 1994, Hong Kong) is a Thai-Chinese interdisciplinary artist whose work examines the intersections of identity, technology, and the environment. Raised in Thailand and later returning to Hong Kong, Ittiteerarak’s art delves into themes of cultural displacement and ecological change. Through photography, moving image, installation, and performance, Ittiteerarak explores the concept of “hyperimage,” blending physical and digital media to create immersive experiences that challenge conventional perceptions of identity and belonging. Their practice is deeply informed by Thai myths and personal narratives, addressing the fluidity of identity and the impact of technological and environmental […] ## Optional - [Agent (MCP protocol)](websites-agents.hostinger.com/ititcheung.com/mcp) [comment]: # (Generated by Hostinger Tools Plugin)