Digital Print, 60 × 60 cm each, three pieces, Edition of 1/5

Courtesy the artist and A+ Contemporary)

The Reservoirs, with three black and white digital prints, shows aerial view of four seemingly peaceful reservoirs. While topped underneath an unknown architectural plan. The artist visited the conference room which held a meeting of "92 Consensus" in Hong Kong , and referred to Hong Kong government’s data to observe the situation of Reservoir at that time, trying to conduct an objective comparison for the paradoxically difference in the Reservoir.

Oil on linen, 150 × 150 cm each, nine pieces

Courtesy the artist and A+ Contemporary)

In The Dashes series, each painting has a black line protrudes boldly out of the largely emptied canvas. Lines often distinguish explicit boundaries. The practice to draw a line is an affirmative manifestation and often also an action to seize control. Moreover, when a line is contrived to curved under external forces, it implies an unseen manipulation over the subject. The Dashes aims to convert discrete concepts into visible description. As a result, the artist’s practice to draw lines is repeated, losing its distinctness in politics, revising its forms with subtleness. The artworks are, thus, independent from the restricted contexts.

Installation, 7.5 × 5.5 × 150 cm

Courtesy the artist

Ever since the invention of railways, the concept of synchronized time zones became vital for journey between countries. The international standardization of railway systems also established a particular measurement, namely standard gauge, between the spacing of the rails on the railway track. In Standard Gauge (1435 millimeters), the artist explores modern history of Korea in the context of Korean railway systems. The work formalizes the artist’s reoccurring exploration of physical and immaterial conditions created by the border.

Installation, 30’00’’

Courtesy the artist

The Night I Couldn’t Fall Asleep is a video piece presenting an animated globe in its non-stop spinning motion. The repetitive movement does not seem to be uniform, instead seemingly being taken control by an invisible hand. This is an absurd attempt to regain control over temporality in relation to the solar time. Wong explains this monotonous and tiresome experience reflects the notion of biological clock time and scientific clock time from a humanistic level.

Neon text, 28 × 150 × 5 cm

Courtesy the artist

Neon text, 32 × 158 × 5 cm

Courtesy the artist

The question whether time is a border had been raised by the artist through his solo exhibition in Seoul in 2016. By setting up an imaginary time zone, Wong puts his audience in an active participation which his power over the control of time was exercised as well as being an attempt to manifest the notion that time can be a border. Time Isn’t Our Border and its compliment, Time Is Our Border (2017), are neon signs made in Wong’s handwritten text, spelling out the words of the titles. Although there is no set relationship between the two works, they speak of Wong’s frustrated dilemma on time as a border, in both conceptual way and his own personal relationship.