Moving Stories


If the Moment Came
Wired glass window, micro controller, wood, projector
, solenoid
video loop: 1 min, 3 sec
When I was doing a field recording in Admiralty during the Occupy Movement, I saw a few boys playing kendama near their campsites. I was attracted by the sound when the ball hit the wood handle in a quiet space ( which was used to be a central business district) and their concentration. I figured that the trial and errors through practicing kendama is similar to what the students were undergoing to pursue universal suffrage. I linked kendama with an incident that a window of the Legislative Council was smashed, to represent the two forces. I reposition this two objects to depict my feeling about the spirit of students (kendama) facing the power (wired glass window) which is being used as a metaphor of the authority. 

The title If the Moment Came is a conditional phrase which is used for condition that is unreal. The ball of kendama is thrown up, hit and open the wired glass window, which soon closes again. Fantasizing about the moment of breaking free from the forces, the ball hits the window persistently, but in vain.

Stress Test
Fabric, custom electronics, motors
2022


Commissioned by Tai Kwun Contemporary
Curator: Erin Li
Fabricator: Tung Wing Hong

Formally inspired by both newspaper production lines and gym equipment, a belt of elastic fabric is constantly being pushed and pulled by forces from various angles, emitting a strong sense of tension and anxiety. A closer look would reveal glitchy vocabularies of emotions printed all over the fabric, which points to how daily information overload from news and social media nowadays keeps some people on an emotional roller coaster and even challenges their mental well-being. The artist’s determination to live with the inherent instability of the structure itself parallels her wish that those in adversity gains resilience through stress tests in life.


Hesitation grips me
Camera Obscura, latex, metal, acrylic, wheels
2018
Comissioned by Hong Kong Jockey Club and ifva
Hesitation grips me adapts the optical phenomenon derived from the camera obscura with a structure of dark chamber to depict the condition of hesitant to contact with the outside world. The image of the outside world falls into our eyes through the lens. The changes of the internal structure brings about images that wander between the thin line of blurriness and sharpness, catching and releasing .




Expose
valve, titanium heating coil, linear slide, metal, LDPE tubing, projector , micro controller
video loop: 7 min, 9 sec
Expose” is a video kinetic installation. An exposed crowd of unidentified people protesting under the sun is projected on a thin metal rod, which is heated to a very high temperature. When anonymous water from the top drops on people on the rod, it transforms into vapor and disappears, dissolving their souls to the air, without an end.




Object Stories
Info
Upcoming












November 2025 - November 2026
Hong Kong Palace Museum
----- Commissioned Public Art
Curator: Grace Cheng


March - May 2026
1a  space, Hong Kong
----- solo exhibition down to earth ( exhale )
Curator: Yeung Yang


May 2026
1a space, Hong Kong
----- Launch of first monograph, In Search of Completeness,
marking a comprehensive reflection on her over 10 years of artistic practice and research with handdrawn sketches and essays from respected art pratitioners.  
Editor: Christina  Chung
Book Designer:  mmmmor studio


AboutChloë Cheuk is a Montréal-based Hong Kong artist whose multidisciplinary practice spans kinetic sculpture, installation, video, and generative art. Rooted in curiosity and an experimental spirit, she approaches the unknown as a site of discovery — embracing uncertainty as both process and philosophy.

Working through a minimal and poetic vocabulary, Cheuk transforms the ordinary into the profound. Her work explores intimacy, spirituality of objects, and the fragile relations between material, body, and emotion. Subtle gestures and quiet interventions invite viewers into moments of stillness — where touch, distance, and longing coexist.

Guided by an interest in how emotion can be mediated through form and motion, she constructs sensory environments that hold traces of human presence and absence. Through this practice, Cheuk reflects on the tension between solitude and connection, precision and chance, presence and disappearance.


CollectionM+ Museum, Hong Kong
Yi Qin Zhai Collection
Yuri van der Leest Collection
Private Collection in Hong Kong, Montréal and Zurich


Solo Exhibitions2026

2020

2017

2015
(upcoming) down to earth ( exhale )
1a space, HK
Deep Cleansing
ELLEPHANT Galerie, Montréal
Side Effects
Dienstgebäude Zurich Art Space
, Switzerland
She, herself - Experiments from Chloe Cheuk,
Things that can happen, HK
After Blossom
100ft. PARK,
HK
Every Every
Videotage, HK
A Little Bit Different
Zürcher Hochschule der Künste, Switzerland


Selected Group Exhibitions2025
2024




2023

2022
2021
2020




2019







2018











2017





2016












2015































2014



2012
Hong Kong Palace Museum (upcoming)
‘Karmic Fissure’, PODIUM, HK
International Symposium on Electronic Arts, Australia (Brisbane)
The Wrong Biennale, Japan (Tokyo)
Hong Kong Arts Centre, The 29th ifva (Media Category) Finalist Works Exhibition
Public Sweat at Festival of Cool, Canada (Toronto)
Foundation - A Web3 Media Art Festival, HK
‘emo gym’, Tai Kwun Contemporary, HK
‘10 years of ASP’, Soundpocket Hong Kong
‘Tongueless’, Goethe Institut Hong Kong
‘Hong Kong – Tales of the City’, Denny Dimin Gallery, New York
Canada (Montreal): International Symposium of Electronic Art       Canada (Montreal): ‘Reset’, Art Souterrain Festival
Canada (Montreal): ‘Site of the Not Yet’, Peripheral Hours
Canada (Toronto): University of Toronto
'Matter’ Curated By William Lim, Seoul Auction Hong Kong
‘Nevertheless, History Continues’, Korean Cultural Center (co-presented by MMCA, HK Art Center, ifva and Korean Cultural Center)
Art Central
Exit Strategies, H Queen's
Hong Kong: Carnival - Jockey Club ifva Everywhere
Hong Kong: The Other Story, Karin Weber Gallery
Canada (Montreal): Homecoming, Homegoing: Into Heterotopias, Galerie 2112
Canada (Montreal): Fresh Paint / New Construction, Galerie Art Mûr
Canada (Montreal): HANDS, Studio A
Canada (Montreal): Concordia University MFA Degree Show, Darling Foundry
USA (New York): “William Lim: The Architect and His Collection”, John Hartell Gallery, Cornell University
Netherland (Amsterdam): “IDEAL-TYPES”, HE.RO (curated by Alfredo Cramerotti)
Italy (Torino): The Others Art Fair
Greece (Athens): Platform Projects (Independent Art Fair Athens)
Canada (Montreal): “Human, I am lack of Confidence”, Tohu
Hong Kong: “Medialogue”, Hong Kong Visual Arts Centre
Hong Kong: “Breathing Space: Contemporary Art from Hong Kong”, Asia Society Hong Kong Center
Hong Kong : PMQ, deTour Festival
Hong Kong : Blindspot Gallery  “⇒”
Switzerland (Zürich) : Dienstgebäude, “Catch of the Year”
Canada (Montréal) : École des beaux-arts de Montréal, Concordia MFA Group Show
Canada (Montréal) : Grey Nuns Building, " The Furniture We Are Forever Rearranging ”
Hong Kong : Art Basel Hong Kong, Videotage
Spain (Barcelona) : LOOP Festival 2016
USA (New York) : ArtHelix Gallery, The Furniture We Are Forever Rearranging
USA (New York) : Hong Kong Contemporary Film Festival , Downtown Community Television Centre
Argentina : 404 Festival
Australia (Melbourne) : Australian Centre for the Moving Image, Channels The Australian Video Art Festival 2015
Canada (Montréal) : Jouissance, 255 Rue de Rouen
Affordable Art Basel, JCCAC
K11 art space, Both Sides Now II - It was the best times, it was the worst times?
Connecting Spaces, Both Sides Now II - It was the best times, it was the worst times?
Videos and words from a Post-Industrial City, Chai Wan Mei
16th Media Art Biennale, WRO 2015 Test Exposure, Poland (Wroclaw)
LOOP Festival 2015, Spain (Barcelona)
Catch of the Year, Dienstgebäude, Switzerland (Zürich)
Museum of Contemporary Art, Hong Kong Week, Taiwan (Taipei)
United Kingdom (Leicester) : Phoenix Cinema and Art Centre, Both Sides Now II - It was the best times, it was the worst times?
United Kingdom (Hastings) : Electric Palace Cinema, Both Sides Now II - It was the best times, it was the worst times?
United Kingdom (Brighton) : Fabrica, Both Sides Now II - It was the best times, it was the worst times?
United Kingdom (Portsmouth) : Aspex Gallery, Both Sides Now II - It was the best times, it was the worst times?
United Kingdom (London) : Institute of Contemporary Arts, Both Sides Now II - It was the best times, it was the worst times?
United Kingdom (Manchester) : HOME, Both Sides Now II - It was the best times, it was the worst times?  
Linz, Ars Electronica Centre
Linz, Ars Electronica Festival: “C…what it takes to change”
Art Experience Gallery, First Smash 2
10 Chancery Lane Gallery & Platform China, Chai Wan Mei 2014
Hong Kong : Hong Kong Arts Centre, The 19th ifva (Interactive Media Category) Finalist Works Exhibition
UAE : Dubai, 20th International Symposium on Electronic Art (ISEA 2014)
Bodillusion, Twodogs Backyard
10 Chancery Lane Gallery, HKFOREWORD: Discordia
Nexto Contemporary Art, The Next State of Mind
Run Run Shaw Creative Media Centre, The SCM Annual 2012
HKICC Lee Shau Kee School of Creativity, Best Before Critical Intermedia Laboratory Creative Bulletin #3

Residencies
2019
2015

2014

Topological Media Lab, Concordia University
Zurich University of the Arts
Fuse:: Videotage, Hong Kong
Ars Electronica Futurelab, Austria


Commisioned Projects
2023
2022
2018
2017
Hong Kong: Foundation - A Web3 Media Art Festival
Hong Kong: ‘emo gym’, Tai Kwun Contemporary
Carnival - Jockey Club ifva Everywhere
Asia Society Hong Kong Center “Breathing Space: Contemporary Art from Hong Kong”


Awards2017


2015

2014  



2012
Nominee: Award for Young Artist (New Media Art Category) Hong Kong Arts Development Award
Nominee: Sovereign Asian Art Prize
Nominee: Award for Young Artist (New Media Art Category) Hong Kong Arts Development Award
Soundpocket Supported Artist
Special Mention Award (Interactive Media Category), the 19th Hong Kong Incubator for Film & Visual media in Asia (ifva), HK

Creative Media Award, The SCM Annual


Grants
2024

2023

2020

2018

2017

2016


2015


2014

Travel Grant (Arts Abroad), The Canada Council for the Arts [Venice Biennale]
Explore and Create Research and Creation, Canada Council for the Arts
Cultural Exchange, Hong King Arts Development Council, Hong Kong
Concordia University Conference and Exposition Award
Concordia University Mobility Award
Hong Kong Art Gallery Association, Artist Residency Abroad Funding Scheme
Concordia University Travel Award
Concordia International Tuition Award of Excellence
Concordia University Conference and Exposition Award
Concordia University Faculty of Fine Art Fellowship
Cultural Exchange Arts Development Fund, Home Affairs Bureau, Hong Kong
Cultural Exchange Arts Development Fund, Home Affairs Bureau, Hong Kong
Ars Electronica Futurelab Residency Grant, Burger COLLECTION & European Union National Institutes for Culture
Emerging Artist Grant, Hong King Arts Development Council, Hong Kong


Talks2023 

2022
2021

2019
2017




2015


2014
Hong Kong: Foundation - A Web3 Media Art Festival, Videotage
Hong Kong: PS Paid Studio Visits, Parasite
Hong Kong: “Hong Kong Art”, Hong Kong Art School
Canada (Sackville, NB): Mount Allison University
Hong Kong: UBS Open Classroom Series (Art Basel HK)
Canada : Concordia University, Design and Computation Art class (Pro. Brad Todd)
Canada : Concordia University, Sculpture class (Pro. Elise Provencher)
Hong Kong : Asia Society Hong Kong Centre
Hong Kong : “FUSE:: Artist-In-Residence”, Videotage
Hong Kong : “Dialogue with Chloë Cheuk and Samson Cheung”, Connecting Space
Artists in residency presentation on “Public Space”, the 6th European - Chinese Cultural Dialogue, co-organized by Romania Cultural Institute, European Union National Institutes for Culture (EUNIC), Chinese National Academy of Arts (CNAA), Bucharest, Romania
Guest Lecture Speaker on topic of “Social Media in Umbrella Revolution”, Master’s degree program Web Sciences, Johannes Kepler University, Linz, Austria
Speaker, Ignite! Lightning Talks by Hong Kong Artists, Leisure and Cultural Services Department


Related Experience2025 


2024


2023
Technical Infrastructure Coordinator- Aboriginal Territories in Cyberspace: AbTeC, Milieux Institute for Arts, Culture and Technology, Montréal, QC
Research Assistant - Indigenous Futures Research Centre, Milieux Institute for Arts, Culture and Technology, Montréal, QC
Visiting Scholar - Post Image Cluster, Milieux Institute for Arts, Culture and Technology, Montréal, QC





Last Updated 25.10.13





…Until I am found
Stainless steel, glass, concrete

2019





Commissioned by Asia Society Hong Kong Center
Fabricator: Jacky Chu

This unique viewfinder made of clear globes allows one to pan the city through transforming perspectives. By moving the smallest globular lens nearer to and further away from the largest frontal globe, the reflected cityscape would be altered from an upright but blurry image to an inverted yet clear view. Pacing between clarity and haze, the familiar and the strange, the lines between reality and illusion are blurred, and the physical and virtual world intertwine. This installation is a versatile metaphor for our constant search for direction and belonging, until an external voice resonates with us.



I am fine, I am good, I am happy
Printer, paper, custom eletronics
2017


The work “I am fine, I am good, I am happy.” is a metaphorical kinetic work that performs a loop of self-statement. The text was pre-printed and the paper was put in a normal printer but the paper will go back again. The whole cycle keeps moving but the printer does not function normally that it plays as a role to roll the paper in and out.

The statement can be read literally but because it is computer font, it does not tell the true emotion behind. The whole work acts as an audio recorder inside our souls. We try telling ourselves to be happy and telling others we are happy. We deceive ourselves until it no longer means anything. While the printer keeps rolling the paper, when time goes by, the paper starts deteriorating after going through the mechanisms again and again. The work also reflects on the difficulty of reading our true emotion under the technology era. We text, we type, but it is hard to tell the true emotions without truly having a face-to-face contact and verbal communication.




Dependence
Metal, light bulb, cable
2016 - 2024
Two light bulbs facing side-by-side at the corner of the wall. One has no electricity cable to connect the power and the other has connected to power. The one with electricity brightens up another one. It is a symbol of a relationship that one of them has to rely on another to stay alive. 

“conduction, as in the movement of particles through a medium of transmission in electrical conduction, or the transfer of thermal energy through physical proximity in the conduction of heat, is a particular metaphor for various forms of engagement, togetherness and intimacy”.
Caoimhiń Mac Giolla


Since We Last Met
Found Object, motor, wood
2019




Commissioned by
Things That Can Happen
Curator: Chantel Wong, Lee Kit
Two cups and toothbrushes placed next to each other with a little distance. One does not move, and the other one rotates automatically. When the toothbrush moves closer to the other toothbrush, they meet and the bristle of both toothbrushes causes a friction that slows down the movement. The lingering moment is a symbol of the interaction of two people in a relationship. They intimate, they struggle, they conflict, and they separate until they meet again.create tension and relations. Given the personal and intimate objects, the work embodies the tension that comes from the artist and her past lover.




Long Gone
3D printed resin
2019
The work is a 3D-printed transparent telephone suspended from the ceiling. Cheuk intended it to evoke ideas of “unresolved matters, missing answers, and a lack of proper closure.”

When communicating with people, and then no longer wanting to have further communications, we just ‘disappear’ by not answering the phone or texts — the transparency of the phone makes it appear as a ghost — it creates a mysterious feeling.



Attributes
Porceline, metal
2020
This porcelain helmet is a replica of a safety headgear—an emblem of protection and defiance. By reconstructing it in porcelain, a material both hard and fragile, the work transforms a symbol of resistance into a vessel of vulnerability.

The piece was created from a place of witnessing — a quiet response to the movements of resistance in my home. It stands as a tribute to those who confront fear with courage, who insist on freedom even when the cost is high.

Porcelain, with its delicate surface and enduring strength after fire, mirrors the human spirit under pressure: brittle, yet unyielding. Through this transformation of material, the work reflects on the tension between protection and exposure, strength and fragility — and the beauty that resides within the act of resistance itself.




Waiting For Another Round
four-channel loop video
5 min 59 sec
2014
The work documents the aftermath of Hong Kong’s 2014 Occupy Movement: over 20 days, Cheuk walked and filmed from various bus stops after protest sites were cleared, observing how wheels—those of buses, cars, and other vehicles—gradually erased traces of the occupation. 

Cheuk uses the wheel as both motif and metaphor: it becomes a symbol of relentless urban forces, but also of temporal continuity and disappearance. Sites once occupied merge, dissolve, reappear, and are reclaimed by vehicular movement. 

Through this, Waiting For Another Round offers a meditation on memory, loss, and the cycle of public dissent: the ordinary routine of streets and transport continuing even in the shadow of unrest, speaking to both resilience and erasure. 



Restless Reflection
mirror, metal, motor
2018
Restless Reflection portrays a state of indulgence in self-reflection. Mirror, as a common object plays a metaphor of seeing ourselves, finding ourselves. When the mirror turns automatically at fast speed, the self-standing object loses its own function of reflecting the surrounding people or environment, trying to reflect its own body but in vain. The speed of the mirror that rotates no longer fit in the environment, leaving the solitude.




Please take your time.
Hourglass, metal, grained tablets, prescripted label on plastic bag
2017
Please take your time. is an hourglass that a powder form of Wellbutrin XL 300MG tablets that the artist took every day, an anti-depressants type of drugs, replaces the sand. “Please take your time.” was what the artist heard the most from her former partner during their separation. The sand in a fragile hourglass showing the passing time is replaced by the grained medicine the artist took every day to heal her mental illness. Time goes and comes but memory stays so does pain. The medicine is stored in the hourglass, so does the memory.





Scattering Journey
Archival inkjet print
This series of four scanned images captures the surface of an iPad I found in the library. The act of scanning its screen reveals traces of touch—fingerprints accumulated through use—marking the quiet circulation of human presence on a digital surface. In contrast to the invisible data trails we leave within virtual space, these images disclose the tangible residue of our interactions.

By turning the device outward, from its screen to its skin, the work performs a reversal: a return from the digital to the physical, from the coded to the perceptible. The scan becomes both an imprint and a reflection, suggesting that even within the most virtual architectures, the body persists as evidence of existence.





The Burst of Pleasure
Arduino, Processing, Custom Electronics, Ballons, Needle, Air Compressors, Valves
2012

The Burst of Pleasure is an electronic installation of a birthday celebration setting centered in the room stands a birthday cake above which a balloon is being inflated slowly. On top of the cake is a candle with a pin in it. As the balloon inflates it nearly touches the pin and then deflates slowly. As tension builds and is released watching the balloon inflate and then deflates, a computerized random setting has been installed to allow the balloon to touch the pin one time a day causing a burst with confetti fireworks. The sudden burst into cheers is like a pleasure released from the pressure, yet at the same time one feels a slight loss and depression after the climax is reached and the longing vanishes. The process of building up the excitement and relief holds the audience’s breath and emotion and serves as a certain art therapy.