“My art was first about exploring religion. My mother is a nun ; and I was an altar boy. I started painting. For a long time, I have a lot of things to express, but no one really cares about everything you want to say.
So my work becomes more and more minimal. I began to explore with light.
I was doing three jobs. It gets hard. I want to make the art I want. In Hong Kong, it is about selling art and not making art. You struggle when you want to persuade something but you still need to do the normal thing. So my art becomes more about hidding.
My experience with Experimenta is that it’s refreshing. She had no rules. So I am free to put my art. It was like, what do you want to do, what can you work with. After talking for 30 minutes, it’s .. OK let’s do it. This is a small place, but I was working with a big thinking space.
They did it wrong. They don’t let us grow in our own rights. I can’t compete with the big guys. There is hope. It’s a good time in Hong Kong. It’s starting. We still have a chance.
“During the crash and the deflation of the duck, we sent the ducklings to the Victoria Harbour in Tsim Sha Shui, …silent from the artist ”
Jonathan Ebron during Art Basel, where he is routinely putting up the Trilogy stickers around town.