top of page

A Fixed-Point Observation from Two Billion Light-Years Away



Hong Kong Wong Chuk Hang Space

June 22 – July 24, 2024




In his poem Two Billion Light-Years of Solitude, Japanese poet Shuntaro Tanikawa expressed humanity's musings on the universe. In the vast expanse of the cosmos, Earth is but a drop in the ocean. Throughout history, humans have explored their relationship with nature and society, delved into the connection between the human mindset and the external world, and pondered the interplay of passing time and static existence. Artists serve as vessels of fixed-point observations, keenly capturing and employing diverse media to explore and depict the current state of human society.


Ai☆Madonna’s (b.1984, Tokyo) works portray beautiful girls painted in a characteristic style vividly influenced by Manga. Depicted in cute and sensuous scenes, Ai uses the ‘beautiful girl’ as the medium through which she embodies her own alter ego - regardless of how they are perceived, as long as the beautiful girl achieves perfection, she can express her own voice.


Shuto Okayasu’s (b.1990, Saitama) paintings, deeply influenced by the poems of Shuntaro Tanikawa, ponders on themes such as love, time, human existence, and fate. His practice comprises the endless recording and rebuilding of information to and current behaviours to express the dual relationships between the real and imagined, chaos and harmony; the present and the dream, and the past and the future.


Through the central figure of a curious cloud, Miyu Yamada’s (b.1994, Tokyo) tranquil paintings capture the transient and floating condition which pervades modern society. This theme is reinforced by the artist’s incorporation of sand in her works – symbolic of the boundaries between nature and the city, as well as the inevitability of time and change.


Kazuma Yamamoto’s (b.1998, Tokyo) practice takes the psychology of human behaviours in consumer society as its main theme. Drawing inspiration from popular media sources, his peculiar compositions express the contradictory relationships between ubiquitous human perceptions.


Similarly, Ryohei Nishi’s (b.1999, Shiga) paintings explore the human condition. The artist’s high degree of abstraction portrays uncanny and rough figures which leaves viewers in a state of unease, to parallel the sense of insecurity people experience regarding their own standing in society.


Us solitary humans observe from fixed points on this blue planet, emitting signals that prove our existence. It is a rendezvous of our electric waves – allowing us to coexist upon endless encounters.



Ai☆Madonna Chikara Hinata Acrylic on canvas 130×130×6 cm 2024

Ai☆Madonna Makujime Okaka Acrylic on canvas 130×130×6 cm 2024

Ai☆Madonna She Knows Nothing Yet... Acrylic on shaped canvas 117×153×5 cm 2024

Ai☆Madonna Nice to meet YOU Acrylic on shaped canvas 161×142×5 cm 2024

Kazuma Yamamoto Human and Ape Oil, acrylic, charcoal on canvas 194×324×5 cm (194×162×5 cm ×2) 2023

Kazuma Yamamoto Untitled Oil and acrylic on linen 194×162×5 cm 2024

Kazuma Yamamoto Ocean bathing Oil, acrylic, resin on linen 165×130×5 cm 2024

Kazuma Yamamoto Entice forest Oil and acrylic on linen 165×130×5 cm 2024

Kazuma Yamamoto Yellow cane Oil and acrylic on linen 112×162×5 cm 2024

Miyu Yamada AB company near water Acrylic, mixed media on canvas 162×130×5 cm 2024

Miyu Yamada The light Acrylic on canvas 116×91x5 cm 2024

Miyu Yamada Brand new day Acrylic, mixed media on canvas 116×91x5 cm 2024

Miyu Yamada A in the someone Acrylic, mixed media on canvas 91×116×5 cm 2024

Miyu Yamada To another place Acrylic, mixed media on canvas 91×116×5 cm 2024

Miyu Yamada AB company Clay, wood, linen, acrylic, mixed media 54×48×6 cm 2024

Miyu Yamada A Clay, wood, linen, acrylic, mixed media 32×22×6 cm 2024

Ryohei Nishi DANCE Oil and spray on canvas 130×162 cm 2023

Ryohei Nishi She got up from the simple bed. Oil and spray on canvas 97×130cm 2024

Shuto Okayasu You Acrylic on canvas 182×315×5 cm (182×157×5 cm ×2) 2023

Shuto Okayasu Blue Corner Acrylic on canvas 152×122×5 cm 2023





b. 1984, Tokyo, Japan
Lives and works in Tokyo, Japan


It seems that the reason many creators in all eras drew beautiful girls as “dolls” is they tried to capture the girls’ existence as “things” while removing spirituality in them. In the minds of these creators, there are mixed feelings of longing for the girls and despair that they will never be loved by them.

Existing “dolled girls” are disassembled by an artist and reconstructed to fit his or her liking. There are many creators who do that. Ai☆Madonna also disassembles and reconstructs beautiful girls, but the reconstruction she tries is the process of dividing parts that are surface features, such as “colors,” “lines,” “shapes” and so on. In this disassembly, there is no sense of violence. What kind of structures are used to draw “angels (beautiful girls)”? Which elements are overlapped to create “angels”?

Ai☆Madonna disassembles the elements of “beautiful girls” as if she goes back to the microorganisms in the period of the beginning of life, and reconstructs (reincarnates) them as if they were hers. At the same time, her transformed “beautiful girls” release their energy by regenerating into “new beautiful girls.” That is a birth story of new beauty and the essence of Ai☆ Madonna’ s work is to capture the regenerative moment.

The mysterious healing that one get by looking at Ai☆Madonna’s work seems to be caused by such “joy of birth.”



b. 1998, Tokyo, Japan

Lives and works in Tokyo, Japan


Kazuma Yamamoto graduated with BFA at Tokyo University of the Arts - Oil Painting in 2023, and enrolled in MFA at Tokyo University of the Arts - Oil Painting in the same year.

Yamamoto has been drawn to the “memes” and video content on the internet, particularly the “chilling,” “eerie,” and “unsettling” feelings found in horror films. He is renowned for his artistic style that blends elements of “unease” and “cuteness”. He regards consumption, a playful one, which deviates from the framework of the originally assumed act of consumption, as an act of creativity, and he uses bright and kitschy images to express the excessiveness of playful consumption. By that, his works lure viewers into the instability created by the fluctuation of consumerism.



b. 1994, Tokyo, Japan

Lives and works in Kamakura, Japan


Miyu Yamada creates works which project the beings that live between the gaps of the currents of time periods and society. She uses materials like soil as an intermediate existence between the city and nature, capturing the characteristic untethered, floating feeling and evasiveness of the modern person.

She develops a series of works based on drawings with raised lines and works using pastels. The creatures that appear in her works are depicted as the viewers themselves as well as Yamada herself as she looks at the rapidly changing times and intersecting societies.


b. 1999, Shiga, Japan

Lives and works in Shiga, Japan


Graduated from the Kyoto University of Art in 2023, Ryohei Nishi creates works that emphasise on textures and particulars – upholding the saying of “Der liebe Gott steckt im Detail – The devil is in the details.” Upon these details, patterns are then imagined and constructed to be integrated into the mundane yet peculiarly eerie scenes in the paintings.


“I conduct random sampling on what subject matters I paint: just as when I’m torn between whether it is better to have an apple or an orange in morning, I roll a dice. Nonetheless, I believe the act of rolling a dice is not random – strictly said, it is still my decision to choose the orange by using the dice that was involved in this voluntary act.”



b. 1990, Saitama, Japan

Lives and works in New York, US


Shuto Okayasu graduated from the Tokyo Zokei University. Since moving to New York in 2015, his work has blended photo-realistic and surrealistic styles, drawing inspiration from both Japanese paintings and cartoons as well as contemporary pop culture.


Okayasu's art explores the dualities and contrasts within the same subjects - the strange and beautiful; real and imagined; loud and quiet; chaos and harmony. His compositions often feature a busy, vividly colored foreground juxtaposed against a simple, serene background, yet creating a sense of harmony in the overall mood.

bottom of page