There are several labels associated with Sophia Hotung: Eurasian, a Hotung, and disabled. However, the defining label that characterizes her artwork is her love for Hong Kong.
Last month, Hotung unveiled her inaugural solo exhibition, Choreopolis, at Wyndham Social. The exhibition showcases 10 paintings that blend two of her passions: musicals and the place she was born and raised.
The idea came to her when Covid restrictions eased and crowds returned to the streets of the city. Amidst the bustle, Hotung felt as if she were a character in a musical.
"I started to get this idea of taking Hong Kong and all these places I was walking past every day, and transforming them into musical theater scenes using my favorite musicals."
One of the highlights is Tamaland, a captivating piece that perfectly captures the euphoria Hotung experienced. It recreates the opening scene from La La Land on Lung Wo Road, which connects Wan Chai to Central.
Upon closer observation, you will notice that the human figures in the paintings are a little off-proportion compared to the cars.
Hotung said that was intentional.
"I liked the idea of people being larger than life," she explained. "When we came back out after Covid, it felt like we could take over the space again and really own it."
While the reference to La La Land may be overt in Tamaland, other paintings contain hidden details that require careful observation.
At first glance, Sun Chuen Story appears to depict a building in Mei Foo Sun Chuen.
But on closer examination, you'll find scenes from West Side Story playing out on the balconies.
" I basically told the story through balconies," she said. "I like the idea that despite being limited to a tiny square footage in a tall building, we can still have theater."
Indeed theater can be anywhere, as demonstrated throughout the whole series.
In Tai Kwun Tango, characters from Chicago appear to have transported their vaudeville stage to the historic Tai Kwun compound.
Sailors from South Pacific belt out joyful melodies across the swaying decks of local fishing boats off Cheung Chau in Chau Pacific.
Meanwhile, 42nd & Duddell Street references the tap-dancing finale of 42nd Street against the neon backdrop of Duddell Street.
Hotung tries to tell a story with each painting. "I'd like to think of myself as a storyteller first, then an artist."
She hopes the viewers can find their own understanding and form their own stories based on the paintings. "Maybe next time you encounter one of these places, you can have a little dance," she said.
Grappling with seven chronic conditions, Hotung's artistic journey began with an iPad her mother gifted her when she was bedridden in 2020. She created the Hong Konger series, transforming covers of the The New Yorker into scenes depicting Hong Kong.
After four years, the series has grown to include 100 artworks, along with a sub-series called The Hong Konger Wall, featuring 216 portraits of local individuals.
"I think I'll stop drawing Hong Kong when I get bored, but I don't know if I can get bored," she said. "Right now it feels like there's so much to be made, said and drawn about Hong Kong."
Choreopolis is being exhibited at Wyndham Social until April 28.
