The First Chapter : Interview with Kavieng Cheng (English ver.)
This conversation marks the tenth interview in the series *'Defining Moments: The First Start or the Turning Moment'*. We meet Kavieng Cheng, a multidisciplinary artist from Hong Kong whose practice flows between the roles of artist, art director, curator, and fashion photographer. For Kavieng, these are not separate professions but shifting lenses through which she interrogates reality—art as a phenomenological mode of existence, a continuous practice of sensing the world and questioning the given.
Her work operates as an archaeology of the micro-psychological, drawn to the pre-linguistic realm: gestures that occur before words form, tensions held in the body, and fragmented moments that escape the conscious filter. Working across print, wood sculpture, and laser-cut forms, she explores the paradox between organic warmth and violent precision—a duality that mirrors the human psyche, structured yet chaotic, resilient yet profoundly fragile. It was her high school teacher Ms. Kong, who transformed her classroom sketching from a "distraction" into a creative assignment, that first revealed to her that her private world could communicate with others.
Currently deepening her inquiry through installation works and research on traditional Chinese hair embroidery, Kavieng is preparing for an exhibition in Hong Kong this coming February. This interview has been carefully edited to preserve her reflective voice and genuine perspective. Now, in the artist's own words.
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Q. Thank you very much for taking the time to speak with us. To begin our conversation and introduce you to our readers, we would be grateful to hear how you would like to introduce yourself as an artist, and what kind of work you are currently focusing on.
A. Hello! I’m Kavieng Cheng from Hong Kong. It is a pleasure to engage in this dialogue.
Rather than defining myself through a single profession, I see my practice as a fluidity of gazes. Navigating between the roles of artist, art director, curator, and fashion photographer, I do not see these as separate jobs, but as shifting lenses through which I interrogate reality. For me, art is not merely a vocation; it is a phenomenological mode of existence—a continuous, rigorous practice of sensing the world, questioning the "given," and interpreting the unspoken textures of human life.
My work is more like an archaeology of the micro-psychological. I am obsessed with the pre-linguistic realm —the gestures that occur before words form, the tension held in the body, and the fragmented moments that often escape the conscious filter. These overlooked fragments possess a raw truth-valuethat language often obscures. I envision my works as reflexive surfaces—gentle mirrors where the boundary between the observer and the observed dissolves, allowing the viewer to encounter a submerged part of themselves.
On Materiality, I engage in a dialogue with materials—print, paper, wood sculpture, and laser-cut forms. I am drawn to the temporal weight they carry. There is a paradox I explore: the tension between the organic warmth of wood and the violent precision of a laser cut. This duality reflects the complexity of the human psyche: structured yet chaotic, resilient yet profoundly fragile.
Currently, I am deepening this inquiry through installation works and a research project on traditional Chinese hair embroidery. Hair is a profound material—it is both of the body and separate from it, a remnant of time and biological memory. By using hair to embroider, I am exploring themes of corporeal attachment and the anxiety of separation. It is an investigation into how we bind ourselves to others and to the past. These works, which attempt to weave together the visceral and the emotional, will be exhibited in Hong Kong this coming February.
Q. Could you share with us the initial catalyst that set you on the path of an 'artist,' or a decisive moment when you became fully immersed in your work? We would love to hear about the experience, the emotions you felt, and the first image or sensation that comes to mind when you recall that moment.
A. Looking back, painting was never just a hobby; it felt more like an instinctive refuge. When I try to pinpoint a decisive moment, what comes to mind isn't a grand spectacle, but a quiet sense of being “seen”.
In my high school, my habit of drawing in class was usually seen as a distraction, a mistake. But Ms. Kong saw something different. Instead of suppressing that impulse, she "punished" me in a unique way—by assigning me to design the school posters. In hindsight, she gently redirected my misplaced energy into something meaningful. That was the first time I realized my private obsession could actually communicate with the outside world.
Later, Mr. Siu noticed that my speaking style—often dismissed by others as "boring"—was actually a form of calm, observant detachment. He pushed me into advertising competitions, teaching me how to turn what seemed like a personality quirk into a creative strength.
This exploration between "design" and "art" continued through university. Even in that liberal design environment, my work always carried a sense of sensibility that went beyond mere function. It was this lingering feeling that ultimately led me to Central Saint Martins in London for Fine Art. There, I finally stopped needing practical excuses for my work and could fully, and honestly, immerse myself in the world of art.
Q. Have you ever experienced a slump or faced significant difficulties in your creative process? If so, how did you navigate and overcome that period? We are also curious to know if this process led to discovering your unique style or artistic direction, and whether you noticed any changes in your environment or in the reactions of those around you.
A. To me, both the smooth sailing and the rough patches are essential parts of the creative journey. I believe growth is impossible without these experiences.
Honestly, the most significant difficulty I face is quite universal: funding. Creating works with a high degree of finish requires substantial resources. The real challenge lies in balancing the cost of high-quality production with maintaining a decent quality of life.
My solution has been to apply my aesthetic sensibilities within the commercial design industry. It’s a steep learning curve, navigating the gap between the realities of the business world and the idealism of artistic imagination.
I still consider myself at the starting point of this journey, but I look forward to how these challenges will shape my path ahead.
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Q. The fears or difficulties encountered on one's journey are often deeply connected to the birth of a particular artwork. Could you tell us about a piece that was especially challenging to create, but through which you gained a significant realization or felt a great sense of reward? Please share the experience behind that work and what that moment means to you now.
A. Completing the Egg-pilogue series was the most arduous process for me. It wasn't just about making art; it was about confronting and recalibrating my inner emotions.
I feel an indescribable connection to eggs, as if we share a sense of unity. Biologically, we share the same origin—formed from the union of parents. At the time, I noticed a fascinating coincidence: the incubation period from egg to chick (around 24 days) perfectly mirrored my age of 24. This work allowed me to truly understand my own thoughts and taught me how to open up and share emotions with myself.
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Q. It seems that such an experience would have been a significant 'turning point' for you. Following that turning point, how did your artistic world and methodology change? Could you please elaborate on any specific ways your work has evolved since then?
A. There wasn't an immediate, drastic shift in my style right after that piece.
However, if we are talking about a significant turning point, it would be my recent two-year hiatus due to full-time employment. That period forced a pause in my artistic creation, which felt like a form of "fasting”. After leaving that job, the suppressed desire to create exploded like intense hunger. I felt like someone starving who finally got to eat—I produced four artworks in a single burst. That release of pent-up energy has been the most significant shift in my recent journey.
Q. What role does the audience play in your creative process? How does the act of sharing your work with others impact its meaning for you?
A. My immediate priority is to complete my current projects, with plans to expand some of them into full-fledged series.
Looking ahead, I strive for every new concept and finished piece to transcend my previous self, reflecting a greater artistic maturity. I also hope to see my work inhabit diverse spaces, finding better venues that allow the art to truly resonate with the public.
In terms of new territories, I am drawn to my roots. I am excited to explore works that incorporate elements of Chinese culture. I want to utilize traditional cultural aesthetics and presentation methods as a medium to tell my own personal stories.
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Q. Building on your past turning points, in what new directions do you hope your artistic world will evolve? What new ideas or uncharted territories are most exciting to you right now?
A. My immediate priority is to complete my current projects, with plans to expand some of them into full-fledged series.
Looking ahead, I strive for every new concept and finished piece to transcend my previous self, reflecting a greater artistic maturity. I also hope to see my work inhabit diverse spaces, finding better venues that allow the art to truly resonate with the public.
A. To my future self and all young artists:
The version of you from a few years ago wants you to know this: If you haven't yet become the "successful artist" you envisioned, please continue to love this world deeply. Keep observing everything around you.
Understand that success often contains an element of serendipity. Since there is no guaranteed formula for winning, just embrace the uncertainty and continue to be unapologetically you—creating the art that you want to create.
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Artist : Kavieng Cheng
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