Jade Ching-Yuk Ng’s Figurative Paintings Transcend Boundaries of Representation

Hong Kong-born artist Jade Ching-yuk Ng’s work draws on ancient mythology, modernist architecture, art history, and autobiographical references. Rooted in a surrealist approach, her kaleidoscopic canvases reveal human encounters as whimsical experiences layered with symbolic imagery. The interplay of modern narratives and art historical references from de Chirico to de Lempicka move throughout her work, revealing many possible readings and interpretations. 

The scenes of romance and intimacy which unfold on Jade’s vibrant canvases defy a straightforward gendered reading. Deconstructing classical symbolism and challenging traditional concepts of gender roles, Jade’s work encourages the viewer to consider the fine edge of collision between reality and fantasy. Symbolic imagery unveils parts of the story, but viewers are invited to interpret the artist’s oeuvre through their own prism of imagination. The artist’s chromatic arrangement of colour and form allows intertwined figures to merge and metamorphose into one another, transcending boundaries of representation.

Jade graduated from her BFA at Slade School of Fine Art in 2016 and obtained her MA at the Royal College of Art in 2018, and she now lives and works in London. She was a recipient of Cass Art Painting Prize in 2016, Travers Smith Art Award in 2018, and Abbey Major Painting Scholarship in 2018 at the British School at Rome. She has recently exhibited at Tang Contemporary Art, Natasha Arselan Gallery, Cornucopia Gallery, Whitechapel 46, Siegfried Contemporary, Assembly Point, British School At Rome, and Academia di Romania a Roma.  

Jade Ching-yuk Ng, Honey Moons, 2022. Photo Courtesy of Tang Contemporary Art and the artist.

Jade Ching-yuk Ng, Mask off in our timeless hours, 2022.

Can you tell me about your background, and what drove you to become an artist?

I grew up in Hong Kong. After I was born, my siblings and I were separated and raised by different carers for a long period of time because my parents were busy with work. They are both in business and don’t really know much about art. I’ve always felt quite distant and conflicting with my parents because of their conservative upbringing. I assume this detachment is what triggered me to search for something I could belong to. 

I still remember the first art exhibition I visited–it was the Gilbert and George exhibition at the Hong Kong Museum of Art. I was so moved by their work at the time. I felt that in order to have a sense of existence, I needed to create. The idea that the process of creation is only owned by the artist, and no one else, was intimate and comforting to me. As a young kid, making art was a way to navigate the world on my own without much guidance. Art is my shelter, or home, where I can be free from all the restrictions of the world. It is also a tool for me to embrace my fear of abandonment. I want to challenge my fear through my work until I achieve a glimpse of hope in the end. 

Modern narratives intertwine with ancient mythology on your surreal canvases. Where do you draw your inspiration from?

The content of ancient mythology is subconsciously embedded within our daily lives—from architecture and music, to popular culture, such as movies, games, and advertisements. It is impossible to neglect. I use mythology as a fundamental source and tool in my work, in which I combine existing information with my personal interpretation.

Growing up in Hong Kong, where ancient mythology seems so distant, put me in an alienated position, but it also made me more curious when I eventually visited places filled with physical and mythical relics. I developed a much stronger connection to ancient mythology when I lived in Jerusalem and Rome. Ultimately, the juxtaposition of living in all of these contrasting cultures gave me an odd understanding and perspective of ancient mythology. 

I was thrilled that you created ‘I Wish My Bubbly Tears Could Exchange Your Entire Universe’ and ‘The Sweetest’ for the show Through the Prism I curated for Gillian Jason Gallery. What are the stories behind each of these paintings?

I have been looking into objects that can be transformed from their original forms into something secondary. ‘I Wish My Bubbly Tears Could Exchange Your Entire Universe’ originated from my interest in exploring the fragility and transparency of certain objects, such as bubbles. In this work, I wanted to use the external bubbles to mirror the woman’s tears and her internal emotions, as well as the moon in the background, which shares the same shape as the bubble. A bubble can symbolise ephemerality—it vanishes as soon as you come into contact with it—but in reality, it actually changes from a physical object into fluid into air. The moon also constantly changes its form, but it will always become full again after the same cycle. No matter how objects may change, a form of it will always remain in the universe. 

‘The Sweetest’ looks like a romantic scene cut from a classic Hollywood movie, but it also suggests another way to interpret it. A couple is hugging tightly and their torsos become indistinguishable as the two forms morph into one. This goes back to my desire to depict men and women on equal planes. The rose symbolises the passing of time: it blooms and wilts. Like the rose, the romantic moment between the couple will come to an end, but I hoped to make it everlasting by capturing it on canvas.

Jade Ching-yuk Ng, I Wish My Bubbly Tears Could Exchange Your Entire Universe, 2022

Jade Ching-yuk Ng, The Sweetest, 2022

What would you like to convey about human intimacy through your work?

The pandemic has heightened my interest in human intimacy. We all feel an intense longing of touch, but most of us remain trapped behind our flat screens. I think this is where the flat plane surfaces in my work come from. The figures intersect with flat shapes and rigid forms—they seem to be torn apart by their fragmented surroundings, but at the same time, the figures remain inseparable. I want my work to remind people that human interaction should never be replaced by screens. Intimacy is an essential element to feel alive.

Romance is a theme that threads through most of your work. Why is it important for you to explore and celebrate it through your art?

Romance is important to everyone because we can all choose a certain kind of romance that caters to our individual needs. The versatility of romance allows it to be shaped into anything beyond a conventional form. I am always interested in the role of men and women in a traditional relationship. Because I grew up in an environment in which men are more dominant, I am often intrigued by the power that women can bring into play. I want the female figure in my work to accept her vulnerability, and use it as her power. 

I also want the characters in my work–either male or female–to be equal and to share the same role. This is the reason they are always intertwined and become one figure. The holistic figure is genderless, and the symbols can be interchanged. Flowers may symbolise femininity but they can also become a part of the men’s genitals. 

Jade Ching-yuk Ng, That Summer, 2022. Photo Courtesy of Tang Contemporary Art and the artist.

Jade Ching-yuk Ng, Night’s Phobia, 2022. Photo Courtesy of Tang Contemporary Art and the artist.

How has growing up in Hong Kong and now living in London shaped you as an artist?

The transition of moving from Hong Kong to London was a huge change for me. My work is a constant battle between the traditional relationship model and free love. I felt trapped by not being able to choose what I wanted when I was young in Hong Kong. At age 17, I made the decision to carve my own path, so I left and came to London. It was the first time I felt I could choose something for myself and make decisions on my own. I wanted to be free from my previously strict education. Art involves many personal decisions and is the only thing that I can do to express myself. Even though I have experienced very difficult times–such as being thrown out by a studio because of squatting in it, or the night when all my work was chucked out by a studio manager–they still reminded me that no matter what hardship might come alongside my creative process, it will always be something that I have fought for myself.

What would be a dream project for you to work on?

I would like to have my work projected onto a stage design. I am in love with Hockney’s work that distorts theatre perspectives. I think the flat plane surfaces of my paintings could add new dimensions to a multi-dimensional stage setting.

Which artists have especially inspired you?

Tamara Łempicka, Giorgio de Chirico, Herbert Ploberger, Georgy Kurasov, Ana Mendieta, Juan Gris, Fortunato Depero, and Georgia O’Keeffe.

Any exciting plans you’re currently working towards?

I am currently working on a new body of work for my solo show with Tang Contemporary Art in Hong Kong at the end of the year. I have started looking more into the nature of objects and how they may transform from one form into another. And I am also looking at how we interact with all these objects externally and internally. I am very much looking forward to the show as it will be the first time I am having a solo show in Hong Kong after having left for 13 years.