Gagosian Gallery presents Sarah Sze ‘s inaugural solo exhibition in Asia, opening on March 25, 2025, in Hong Kong. This marks her sixth collaboration with the gallery and features an ambitious new collection of large-scale mixed-media paintings and a series of innovative hanging sculptures. Sze’s exhibition explores the inundation of images in contemporary life, using a combination of familiar and fantastical elements to blur the lines between dimensions in her artwork.
ART
In her latest works, Sze investigates the process of meaning-making in an era overwhelmed by visual information. Employing elements from her extensive visual vocabulary, such as a bird, a wolf, a hand, a sunset, she crafts pieces that challenge the distinctions between two-dimensional and three-dimensional art. Her paintings and sculptures create a fluid dialogue, with imagery that transitions from canvas to sculpture, prompting viewers to ponder concepts of time, memory, and perception.
Continuing to evolve her distinctive painting style, Sze treats her canvases as ecosystems of images and impressions where digital and analog worlds collide. In her new painting, Rip Tide (2025), a bird depicted in a collage dominates a backdrop of lush, swirling colors, symbolizing a flock in motion. This technique of recurring imagery, which appears and vanishes across her works, mirrors the fleeting and changeable nature of memory itself.
Viewers are drawn into the architectural depth of Sze’s compositions, which incorporate influences from Japanese printmaking, Chinese scroll painting, and Western landscape techniques. Her piece Double Speed (2025) features a small deer at the bottom, giving rise to a vertical expanse, while a branch extends diagonally, adding a multidimensional effect that plays with the viewer’s sense of depth and perspective. Sze’s mastery in merging diverse historical approaches is evident as she explores the interplay between flat surfaces and spatial depth.
The exhibition also includes Sze’s Fractured Image series of hanging sculptures, where fragments of pigment prints seem to hover in space, assembled in a way that neither fully combines nor entirely separates them. Sarah Sze’s work transcends traditional categorizations, integrating elements from both the physical and digital spheres to question the very nature of materiality and time. Her interdisciplinary approach results in a body of work that is not only visually engaging but also intellectually provocative.
