Untitled, (White Painting), No.40, "Mansell St"

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by gigi tsim BA (Hons)

Oil and Ink on Linen

h: 81 w: 67 d: 4 (cms).

This painting is the final work in a small sub-series exploring the balance between human presence and absence within sites of public protest. While earlier works focused on locations in Hong Kong, this piece shifts attention to London, where demonstrations have gathered around a contested diplomatic development over the past year. Rendered in a low-saturation, low-contrast palette, large areas of exposed raw linen act as a mid-ground from which forms emerge and recede, echoing the instability of memory and collective attention. Ghostly drips across the roadway suggest assembling figures, while translucent white marks indicate where banners and flags might be held. In the foreground, twisting winter trees stand leafless, their strained form counterpointing the activity implied beyond them.

£850 (As exhibited.)

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    	 Untitled, (White Painting), No. 29, "Tank Rd in Yellow"

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by gigi tsim BA (Hons)

Oil and Yellow Chalk Ground on canvas

h: 36 w: 25 d: 2 (cms).

This painting is based on an older Google Maps satellite view of a neighbourhood my cousin recently moved to—a place I cannot access after leaving Hong Kong. The image becomes a way of tracing proximity from a distance, reconstructing a site that holds personal significance despite my physical absence. The work is painted on a yellow-tinted chalk ground, treated as a warm mid-value “white,” similar to how I often use raw linen. The palette is deliberately restrained: indigo and king’s blue articulate the deepest contrasts and focal structures, while muted grey tones occupy the spaces between. The blue-on-yellow relationship was partly inspired by encountering Lee Ufan’s From Line works during a recent research trip to South Korea. Through this limited palette and mediated source imagery, the painting reflects on distance, longing, and the fractured ways I now access the city and the people connected to it.

£200 (As exhibited.)

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