Andrew Luk, Haunted, Salvaged, 2021
Andrew Luk, Haunted, Salvaged, 2021. Expanding foam, insulation foam, steel rods, sea glass, steel mesh, cement, motor
Andrew Luk, Deep Earth Event Horizon 2, 2021
Andrew Luk, Deep Earth Event Horizon 2, 2021. Resin, dye, sillicon carbide
Andrew Luk, Horizon Scan, 2020
Andrew Luk, Horizon Scan, 2020. Epoxy resin, polystyrene, plastic, paint, canvas, LED lights.
Andrew Luk, Echo Chorus, 2020
Andrew Luk, Echo Chorus, 2020. dissolve | Ice, stainless steel plinth. speculation | Die cut vinyl sticker on copper. scalability | Charcoal, resin. sustenance | Salt lick blocks, steel structure, live stream camera with infrared capability
Andrew Luk, Black Square Problem Setting, 2018
Andrew Luk, Black Square Problem Setting, 2018. Plywood, paint, foam padding, aquarium sand, dye, gaffer tape, fibreglass resin
Andrew Luk (Hong Kong/USA) works across a range of media examining the intricacies of the human experience as well as the myths and histories associated with civilisation building. Investigating the creases between binaries such as culture and nature, human and non-human, and the personal and the collaborative, Andrew’s sculptures and installations explore utopian desires of perfection and their dystopian repercussions. His diverse works are united through an exploration of idealogical superstructures and their systems of expression — delicately tracing connections across disciplines, speculating on potential futures and revealing expressions of beauty, preservation and entropy.
During his residency at Delfina Foundation Andrew intends to study the history of Abney Park Cemetery, London, tracing its lineage form a burial ground for religious dissenters and educational arboretum, to its current status as a heritage site and nature sanctuary. He seeks to investigate how one approaches the task of “being a good ancestor”, to be held accountable to a future that is relatively unknown, especially now. He also intends to study the plants and urban wildlife there, both those included by design as well as those that have inserted themselves into the environment, and the relationship between the dead that were placed by design and the living that are allowed to persist because of the significance of the design.
Andrew’s work has been exhibited internationally including in Next Act, Asia Society, Hong Kong, China (2020); Very Natural Actions, Tai Kwun Contemporary, Hong Kong, China (2019); Serious Games, HOW Art Museum, Shanghai, China (2019); Appropriate Responses for Featherless Bipeds with Broad Flat Nails, chi K11 art museum, Shanghai, China (2018); A Tree Fell in the Forest, and No One’s There, Power Station of Art, Shanghai, China (2018); Practice, de Sarthe Gallery, Hong Kong, China (2017); and At Wits’ End, Kula Bazaar ACC, Gwangju, Korea (2016).
His work is included in public collections worldwide, including: Smart Museum of Art, Chicago, IL, USA; Frank. F. Yang Art and Education Foundation, Shenyang, China; University of Chicago, Booth School of Business, Chicago, IL, USA; and K11 Art Foundation, Hong Kong, China.
WITH SUPPORT FROM
Please note all artist-in-residence biographies are accurate at the time of their residency. For up-to-date bios please visit the artist’s website.