Imagine forest emerging from the fog, where, among the dense foliage you catch a glimpse of luminous light. Local artist Thomas Ngan sets this fairytale scene in his first solo exhibition, We Dream for the Light.
The exhibition is an oasis of calm amidst the cacophony of Lan Kwai Fong. Over 20 oil paintings in dreamy blues and greens by Ngan lure the visitor inside. The dreamy atmosphere creates an impression of a realm between reality and fantasy.
"My works hope to explore the ethereal themes of floral, fragility of life and light," said Ngan.
White roses are a prominent presence in his works. Although traditionally associated with purity and beauty, they can also stand for death and funerals, as Ngan himself suggested.
Under his brushstrokes, white roses in various stages of bloomi are captured carefully, with blue and green foliage set as a backdrop. Subtle rays of light and wisps of fog further enhance the mystical ambiance.
In Forgiving Ourselves, the largest work in the exhibition, one can see white roses highlighted by an almost translucent golden hue. It draws an impression of hope and abundance while simultaneously evoking a sense of fragility and vulnerability that is representative of the flower petals.
"There is a purpose for each brushstroke, just like a song which builds along with all the sentences and brings you to one point of a story," said Ngan.
"If you start from a different point, you will be ending differently."
It is easy to control the details when creating oils, Ngan said, but the question he usually asks himself is: "Do I want more details or do I want it to be static?"
Often, he chooses the latter 'because I don't want to make it too clear so that you still have some breathing room. Every time you look at my works, it's going to be a different experience based on your surroundings."
The sense of ambiguity is portrayed by the artist's use of light. Covered in gentle luminosity, the tonal variations in his works create a subtle contrast on the backdrop of cool hues.
For example, in Early in the Morning, a radiant white rose stands at the center of the composition, while the light surrounding it divides the painting into two distinct parts. The top is veiled in a faint fog intermingled with bright light, almost like a halo over the rose while the bottom part depicts a mysterious world of cool blue and green hues.
This contrast calls for a sense of detachment to truly comprehend the gravitas of it all. Only the white rose in the center emits a radiance - which can symbolize hope or, as some may interpret, death and silence.
"Fog represents time," Ngan said. "Yet clear and bright, from beyond the reach of today, is the light that transcends time itself. Just like everything that is the most valuable in life is unseen, and you have to learn to see through the fog."
"That's why the rose is always the brightest power in my paintings," he said, adding that it is actually the light, not the rose, which is the core subject in his works.
Apart from the white rose, there is another recurring motif: a girl in a white dress.
"When I started, I wanted to observe and find a place to express my appreciation for the behavior of floral life forms and feminine beauty," Ngan said. "They are timeless. It's part of our nature to appreciate them."
In Ngan's paintings, the girls are either in a fog-covered flower bush or lying on the ground covered with white roses, dressed in flowing garments with an ethereal and serene look.
He paints them as if they are fairies leading us through the fog to arrive at a sacred garden "surrounded by grace."
Explaining his exhibition title, Ngan said: "We dream for the light - because you have to go through the fog, and the hope you hold is uncertain. How can you have a clear hope if you already know everything that is going to happen?"
Be assured that the light will come, though.
"Even in uncertainty, there's always hope, and you have to keep your eyes on that light," Ngan said.
We Dream for that Light will be up on 3812 Gallery until January 5.
