This is the path (and struggle) that Chris Huen Sin-kan has taken when creating his latest body of work; a path his viewer has no choice but to pursue. Eight monumental paintings, accompanied by five smaller works, make up the first part of a two-part presentation that Huen has called The Path and The Fog. Oxymoronic, yet inextricably linked, this picturesque notion of doubt yet resolution, inspired by Kundera, comes to life in Huen’s renditions of what he calls his ‘ordinary life’, but which are described with a brush that betrays the most exquisite, delicate artistry.

The disciplines and abstractions of painting and physics may not seem to share much in common as tributaries of practice or thought, but one facet of their distinction does, indeed, nurture a telling synergy between the two: things get weird and wonderful when things get really small.