Artwork Description:

Throughout history, Macao is renowned for being the nexus between Chinese and Western cultures. Whether it’s in the “Maritime Silk Road,” a paramount international sea-trading route, or in the “Eastward Spread of Western Learning” trend that originated in the late Ming and early Qing Dynasties, Macao has always been an integral factor in these historical episodes. Through the artist’s postmodern approach and dexterous handling of the medium, this porcelain installation encapsulates a plethora of cultural significances within it: employing Macao Beer, an icon that combines together the local Cantonese culture and Macao’s reputation as the “City of Gastronomy.” Cast in the form of Jingdezhen porcelain, the tin can, a western invention, embodies the value of Macao as the amalgamation of Chinese and Western cultures, while it also hints at the history that Macao was once a crucial port for the export of porcelain ware to Europe. The crushed cans also reflect the increasing environmental awareness amongst the public in today’s society. The Golden Lotus Square, Ruins of St. Paul’s Cathedral, and the patterns of azulejos on the cans all bear witness to the singular historical development of Macao. On the other hand, inspired by lotus—the floral emblem of Macao, the wild-cursive style calligraphy on the cans, alongside the streams of free-flowing golden paint, contain elements drawn from traditional Chinese art and Abstract Expressionism from the west. The faint excerpt on the can is taken from Words of Warning to a Prosperous Age, an opus of Zheng Guanying, an influential writer from Macao, which represents the ideology and patriotism of modern Chinese thinkers. 

Courtesy of the artist