Overview
Flowers Gallery Hong Kong is pleased to present Domestic Setting: Part I, the first edition of a new exhibition series that examines artistic production through a domestic lens. Conceived as a sequence of smaller-format group exhibitions, the series features works aligned with the physical dimensions, temporal rhythms, and emotional landscapes of the home. Across painting, drawing, sculpture, and mixed media, the domestic interior is framed as a critical structure through which care, labour, gender, and space are continuously negotiated.
Featuring Taewon Ahn, Young In Hong, Dusadee Huntrakul, Wu Jiaru, Tomona Matsukawa, Shin Min, Tomislav Nikolic, and Shen Wei.
Labour and the body emerge explicitly in the work of Shin Min, whose practice addresses the figure of the worker within systems of service and exploitation. Shin's WHAT MEDIA work situates labour as a force often invisible yet fundamental to its maintenance.
Intimacy within familial and emotional bonds is explored in the paintings of Tomona Matsukawa, whose works draw on close relationships and everyday encounters. Through a restrained pictorial language, Matsukawa renders moments of proximity and quiet tension, where domestic space becomes a container for memory, affection, and unspoken negotiation. Similarly, Shen Wei contributes an intimate painting rooted in the sensual and personal confines of the home, where interior space is an extension of bodily and emotional states, shaped by touch, stillness, and enclosure.
Questions of scale are central to Tomislav Nikolic's paintings, which demand close viewing and sustained attention. Their modest dimensions resist immediate legibility, encouraging a slower, more intimate mode of engagement that mirrors the rhythms of domestic life.
A recurring though understated element within the works is that of animals, which appear as figures of companionship, labour, and otherness embedded within domestic life. In the practices of Taewon Ahn, Dusadee Huntrakhul, and Wu Jiaru, animal forms function not as symbolic motifs but as relational agents that unsettle distinctions between the human and non-human, the cared-for and the overlooked, positioning animals as cohabitants within shared systems of vulnerability, dependency, and attention.
Young In Hong presents two new works from her ongoing Drawing Plants series. These embroidered drawings depict flowers and plants that have moved in and out of her home and garden over time. Treated as living companions with distinct characters and biographies, the plants are often linked to people close to the artist, forming a web of relations that extend beyond human interaction. As plants grow, die, or are replaced, their documentation becomes a means of holding their presence beyond physical time.
