DavidCow's art shows:
2000 - "Fumetto Comix" international comic show, Lucerne, Switzerland
2001 - "Comics Show" group show, Broadway Cinematheque, Hong Kong
2005 - "Father Robot", solo graphic-poetry art exhibition, Times Square, Hong Kong
2006 - "Devils in Heaven", solo cross-media art exhibition, Times Square, Hong Kong
2007 - "Bring Your Own Nightmare" cross-media co-exhibition, Times Square, Hong Kong
2007 - "Life in a Box" - drawing exhibition, Hong Kong
2015 - "Art n Life" Art Fair, Seoul, South Korea
2015 - "Such, As It Is." solo art exhibition at New Gallery on Old Bailey, Hong Kong
2016 Feb - "Such, As It Is. 2" solo art exhibition at Kubrick, Broadway Cinematheque, Hong Kong
2016 Jul - "Third Eye Wide" solo art exhibition at Fringe Club (Alan Lai-Ling Gallery + The Vault), Hong Kong
2017 May - "Work on Paper" - group art show at The Brick Lane Gallery, London, United Kingdom
2017 Jun - "Abstract Art" - group art show at The Annexe, The Brick Lane Gallery, London, United Kingdom
2018 Oct - "Twisted Marks of Aura" painting exhibition of portraiture at Fringe Club (Alan Lai-Ling Gallery + The Vault), Hong Kong
2019 Oct - "Aura & Air" DavidCow's ArtShow 2019 at Fringe Club (Alan Lai-Ling Gallery), Hong Kong
2020 Oct - "Mumbles On Other Dimensions" An Exhibition of 100 Pieces of Art by DavidCow at Fringe Club (Alan Lai-Ling Gallery), Hong Kong
2021 Jun - "Mini Freak" group art show at Galerie du Génie de la Bastille, Paris
"Mini Freak" - group art show at Galerie du Génie de la Bastille - Paris (June 2021):
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"Mumbles On Other Dimensions"
- An Exhibition of 100 Pieces of Art by DavidCow (October 2020):
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Exhibition Statement:
喃喃次元⼈。
放肆揮舞，
光暗不辨、縱橫無理、⿊白異色，
溫度和維度的顏色與空氣和量子的線條⾓力，
迴盪情、理、靈、業間，
醉薰酣，語喃喃。
To paint dauntlessly.
To paint the flow of invisible realms in textures, colours, light, shadows, and faces. Every stroke a calligraphy of universal energies, an exchange between air and quantum fields, and a transcendence of human vision into multi-dimensionality.
To exist gently between dimensions, where life serves as the repository of all octaves of emotions, logic, souls, and karma.
喃喃次元⼈。
放肆揮舞，
光暗不辨、縱橫無理、⿊白異色，
溫度和維度的顏色與空氣和量子的線條⾓力，
迴盪情、理、靈、業間，
醉薰酣，語喃喃。
To paint dauntlessly.
To paint the flow of invisible realms in textures, colours, light, shadows, and faces. Every stroke a calligraphy of universal energies, an exchange between air and quantum fields, and a transcendence of human vision into multi-dimensionality.
To exist gently between dimensions, where life serves as the repository of all octaves of emotions, logic, souls, and karma.
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"Aura & Air" - DavidCow's ArtShow 2019 (October 2019):
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Exhibition Statement:
當撇去肉體，人和物剩下來的，就只有光曇和氣流，一呼一吸，帶著意識的質感川流着，以能量方式運行着。這就是我創作的源頭，亦是人最本質的生命力。在最底層的思想中和最表層的觀察中，找尋最實質最貼切的刻畫方法去描述、去扭動故事中最微弱的變化、生活中最切膚之痛、情感中最不能用言語描述的部份、記憶中最刻骨銘心的痕跡，一筆一畫地用看似抽象但又是很現實的模式，擺放在畫面上丶散落在畫布上。感知世情，述說人和物。
Cast away the shell of the human form and materiality, and what is left is Aura and Qi/Air, ebbing and flowing with consciousness, running on energy alone. This is the original inspiration behind this collection - the very source of life. From the most surface observations to the deepest layers of thought, I seek the most tangible and most intimate way to describe, to characterize and to twist the smallest details in a story; the greatest pain and tribulations in life; the most indescribable feelings; the most ingrained memories; stroke by stroke of abstractness and reality, on screens and canvases. I feel the world and its feelings, and I tell its stories.
當撇去肉體，人和物剩下來的，就只有光曇和氣流，一呼一吸，帶著意識的質感川流着，以能量方式運行着。這就是我創作的源頭，亦是人最本質的生命力。在最底層的思想中和最表層的觀察中，找尋最實質最貼切的刻畫方法去描述、去扭動故事中最微弱的變化、生活中最切膚之痛、情感中最不能用言語描述的部份、記憶中最刻骨銘心的痕跡，一筆一畫地用看似抽象但又是很現實的模式，擺放在畫面上丶散落在畫布上。感知世情，述說人和物。
Cast away the shell of the human form and materiality, and what is left is Aura and Qi/Air, ebbing and flowing with consciousness, running on energy alone. This is the original inspiration behind this collection - the very source of life. From the most surface observations to the deepest layers of thought, I seek the most tangible and most intimate way to describe, to characterize and to twist the smallest details in a story; the greatest pain and tribulations in life; the most indescribable feelings; the most ingrained memories; stroke by stroke of abstractness and reality, on screens and canvases. I feel the world and its feelings, and I tell its stories.
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"Smart Art‧Big Heart" Breathe Life Arts Exhibition 2018 - group show at Hong Kong Cultural Centre (Dec 2018):
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"Twisted Marks of Aura" - Painting Exhibition of Portraiture (September - October 2018):
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Exhibition Statement:
畫畫是視覺藝術修為的基本，而正因為導演的日常工作須經常以數碼方式去傳遞感觀訊息與視覺效果，驅使張天行以數碼做不到的部分作畫畫的目的，並成為今次畫展的主要元素。雖然，數碼化的相片與錄像已經完全取代舊有菲林模式甚至顏料，令分享與創作變得更方便直接，但他仍然希望以繪畫形式去追求藝術。
他於過往三十年間研習書法、設計、視覺藝術與動態影像，遊走於各種創作媒體之間，以藝術探索人生。他的畫作糅合了不同現代藝術大師的筆觸，並加上一己的創造，猶如以不同畫風的種子灑在畫布上一樣，在筆耕中栽種出獨創的風格，顯現出藝術本質上的自性與重生。
張天行認為"淨化"是藝術的旨趣所在，而藝術製作者在創作過程中須思考藝術的本質，追尋獨特的藝術風格；當今的藝術界有部分人以否定藝術的原始性為尚，製造一些概念而又不是探尋藝術本質的拾荒者式作品，而這，並不是他的取向。除了追求在作品中呈現淨化的境界，張天行本人更堅持以由無而成為有的繪畫形式來體驗藝術。他認為視覺藝術應有的手藝絕對不可m抹殺——畫筆與畫布的接觸面在三維空間製造立體與平面之間的質感這一種由零開始的藝術，比較貼近世界的開端；而當他在創作過程中嘗試扭動畫筆以呈現行書的行氣時，出現了一種近乎淨化境界的筆觸氣流：Twisted Mark。
《瓦解中的軀殼》正是一系列由Twisted Mark這種呈現淨化境界的單細胞衍生而來的肖像作品。視覺藝術是離不開觀看的，從內容層面而言，肖像畫畫的是人，而人與人之間亦有著一種對望的原始性。但當人撇去了原本的外貌，我們可以觀看到甚麼？人沒有了存在的軀殼，仍會存在某種物質、某種生命力、某種光體、某些意識及意義嗎？感知的面貌與藝術的淨化有否決定性的關聯？這都是今次的畫作所探索的課題。
Drawing and painting form the foundations of fine arts. As a director, David's work is mostly digital in nature, and it drives him to paint in ways digital mediums cannot, and thus giving birth to the core elements of this exhibition. Although digital imagery and video have completely replaced film and paint and made sharing creative works easier than ever, David has never compromised his love for painting.
David has spent the last thirty years studying and practising calligraphy, design, visual arts and moving images, migrating and exploring between mediums and what they bring into his life of art. His works combine inspirations from the masters of different eras as well as his own muse, as if they join hands in sowing a mixture of seeds upon a canvas and growing them into his own unique style through twists and strokes, at the same time exemplifying the individuality and reincarnation of art's innate nature.
"Purification" is the heart and soul of art, and artists must pose an inquiry into the nature of art itself during the creative process to create his or her own unique artistic style. There are artists who do not pose such an inquiry and pursue conceptual tools that merely scavenge ideas into works. David strives to develop a style by genesis and constant purification as a way to experience art. He believes that craftsmanship is an indispensable part of visual arts, and the way art is created in the physical dimension between the brush and the canvas is the closest process to the creation of the Universe. By applying the principles of Chinese calligraphy to his painting approach, a new dimension of purification is created between the hairs, the space and the intention - he calls it Twisted Mark.
《TWISTED MARKS OF AURA》 comprises portraits born of the Twisted Mark purification style. The visual arts are ultimately grounded in human vision, and on the surface the subjects of the new works are faces that come with a primal urge to look and be looked. But what if we look past the surface of the outside shell and search for that something, that life, that light, that consciousness and that meaning that may exist somewhere within? Will the intention of purification reveal the face behind? Such is the inquiry posed by this body of work.
畫畫是視覺藝術修為的基本，而正因為導演的日常工作須經常以數碼方式去傳遞感觀訊息與視覺效果，驅使張天行以數碼做不到的部分作畫畫的目的，並成為今次畫展的主要元素。雖然，數碼化的相片與錄像已經完全取代舊有菲林模式甚至顏料，令分享與創作變得更方便直接，但他仍然希望以繪畫形式去追求藝術。
他於過往三十年間研習書法、設計、視覺藝術與動態影像，遊走於各種創作媒體之間，以藝術探索人生。他的畫作糅合了不同現代藝術大師的筆觸，並加上一己的創造，猶如以不同畫風的種子灑在畫布上一樣，在筆耕中栽種出獨創的風格，顯現出藝術本質上的自性與重生。
張天行認為"淨化"是藝術的旨趣所在，而藝術製作者在創作過程中須思考藝術的本質，追尋獨特的藝術風格；當今的藝術界有部分人以否定藝術的原始性為尚，製造一些概念而又不是探尋藝術本質的拾荒者式作品，而這，並不是他的取向。除了追求在作品中呈現淨化的境界，張天行本人更堅持以由無而成為有的繪畫形式來體驗藝術。他認為視覺藝術應有的手藝絕對不可m抹殺——畫筆與畫布的接觸面在三維空間製造立體與平面之間的質感這一種由零開始的藝術，比較貼近世界的開端；而當他在創作過程中嘗試扭動畫筆以呈現行書的行氣時，出現了一種近乎淨化境界的筆觸氣流：Twisted Mark。
《瓦解中的軀殼》正是一系列由Twisted Mark這種呈現淨化境界的單細胞衍生而來的肖像作品。視覺藝術是離不開觀看的，從內容層面而言，肖像畫畫的是人，而人與人之間亦有著一種對望的原始性。但當人撇去了原本的外貌，我們可以觀看到甚麼？人沒有了存在的軀殼，仍會存在某種物質、某種生命力、某種光體、某些意識及意義嗎？感知的面貌與藝術的淨化有否決定性的關聯？這都是今次的畫作所探索的課題。
Drawing and painting form the foundations of fine arts. As a director, David's work is mostly digital in nature, and it drives him to paint in ways digital mediums cannot, and thus giving birth to the core elements of this exhibition. Although digital imagery and video have completely replaced film and paint and made sharing creative works easier than ever, David has never compromised his love for painting.
David has spent the last thirty years studying and practising calligraphy, design, visual arts and moving images, migrating and exploring between mediums and what they bring into his life of art. His works combine inspirations from the masters of different eras as well as his own muse, as if they join hands in sowing a mixture of seeds upon a canvas and growing them into his own unique style through twists and strokes, at the same time exemplifying the individuality and reincarnation of art's innate nature.
"Purification" is the heart and soul of art, and artists must pose an inquiry into the nature of art itself during the creative process to create his or her own unique artistic style. There are artists who do not pose such an inquiry and pursue conceptual tools that merely scavenge ideas into works. David strives to develop a style by genesis and constant purification as a way to experience art. He believes that craftsmanship is an indispensable part of visual arts, and the way art is created in the physical dimension between the brush and the canvas is the closest process to the creation of the Universe. By applying the principles of Chinese calligraphy to his painting approach, a new dimension of purification is created between the hairs, the space and the intention - he calls it Twisted Mark.
《TWISTED MARKS OF AURA》 comprises portraits born of the Twisted Mark purification style. The visual arts are ultimately grounded in human vision, and on the surface the subjects of the new works are faces that come with a primal urge to look and be looked. But what if we look past the surface of the outside shell and search for that something, that life, that light, that consciousness and that meaning that may exist somewhere within? Will the intention of purification reveal the face behind? Such is the inquiry posed by this body of work.
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"Abstract Art" - group art show at The Brick Lane Gallery - The Annexe, London (June 2017):
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"Work on Paper" - group art show at The Brick Lane Gallery, London (May 2017):
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“Twisted Flows” Series
We twist and braid our thoughts, feelings, energies and karma in every moment of our existence, like colours on an infinite canvas that fold, interweave, peak and plunge perpetually into each other. We can read into it as forensically as the laws of modern science or as macrocosmically as the very fabric of universal principles that bring all into being; but most of the time we choose the middle path by seeing faces - the horizon of our predominantly social reality that divides the seen impermanence, which we can choose to love or push away and to impose upon or leave uninterrupted, and the unseen eternal dance, which we desperately want to define but are ultimately forever lost in. As the great Nisargadatta Maharaj says: “Wisdom tells me I am nothing. Love tells me I am everything. And between the two, my life flows.”
We twist and braid our thoughts, feelings, energies and karma in every moment of our existence, like colours on an infinite canvas that fold, interweave, peak and plunge perpetually into each other. We can read into it as forensically as the laws of modern science or as macrocosmically as the very fabric of universal principles that bring all into being; but most of the time we choose the middle path by seeing faces - the horizon of our predominantly social reality that divides the seen impermanence, which we can choose to love or push away and to impose upon or leave uninterrupted, and the unseen eternal dance, which we desperately want to define but are ultimately forever lost in. As the great Nisargadatta Maharaj says: “Wisdom tells me I am nothing. Love tells me I am everything. And between the two, my life flows.”
"Third Eye Wide" - Art Exhibition (July 2016):
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Exhibition Statement:
"THIRD EYE WIDE．三眼界"是視覺結構的視線遊歷。
第三眼是感知的眼。如果要用感知方式看真實世界，外在世界是怎樣的一種結構？是DNA啟動出來？是幾何結構出來？還是一切視像都只是腦內傳訊。即使是花鳥蟲魚，這些生命體觀察世界，本身接收的視像也顯著不同於人類，推論外星人看人類更會不一樣，未必如我們看自己本身。
人，只要見到有眼的圖像，其他部分的形體會隨視覺整合而生，隨視線而幻想下去，四目交投的習性是人本的，亦是畫者帶引觀者進入他的視覺世界的其中一項設定。
正因為真實世界以能量模式存在，跟肉眼見到的有很大差異。如果用這個方法去看世界，光的折射、焦點與視線的走向、時間的停頓及群體視覺記憶，如何誘導能量圖像化；而這種抽象模式又與藝術歷史有什麼關係？一切外在世界的都是空性的，是能量，在視線留神的一刻，或者，能感知非空洞的現在進行式。
"THIRD EYE WIDE" is the journey of the visual or eye faculty in the human experience.
The Third Eye is the centre of feelings and intuition, and if we were to experience reality through it, what would the external world present? Is it a world of sensations dictated by our genetic composition and predisposed modes of perception? Is it a shifting configuration of the sacred geometries that the physical world is constructed from? Or is it just a performance by the orchestra of neutrons in our brains? Birds and bees and plants and extraterrestrials see our world differently from our own world view. But how different are we as sentient beings?
When the human eye sees itself appear in the realm of visual art, it weaves all surrounding cues and elements together into an experience and an imagination originating from the perspective of the eye. The artist brings his viewers into the experience of the seer seeing and being seen.
But reality exists in a matrix of energies that the human eye does not see. If it did, the language of light would strum the chords of our spiritual being and stir the collective visual memory of our species within the vast illusion of time. The external world is empty by nature yet filled with energy. If and when the Third Eye opens and sees things as they are, we may find ourselves witnessing the continuous stream of shifting consciousness, a series of moments strung together by threads of knowingness.
Artist Statement:
藝術創作本於人與作品的淨化，連貫的，亦不連貫的，於光與虛無中互相編織可能。DavidCow於過往三十年間研習書法、設計、視覺藝術與動態影像，運用他的專業遊走於各種媒體，不斷作出越界嘗試，探索人生，疇合視覺的原始性。他的畫風不時糅合不同現代藝術大師的筆觸再創造，猶如以不同畫風作種子，灑在畫布一樣，顯現藝術本質上的自性與重生，來誘導對藝術的觀察力同興趣。結合個人對於跨文化、跨地域及靈性的探究，為視覺元素賦予不同意義，揭示現狀於未知的本質上，遊歷你與我的當代文明與符號。
Art is the synthesis and purification of the human condition, in motion and in stillness, constructed with light, in a vast emptiness ever brimming with infinite possibilities, in David’s artistic paradigm. Fine arts, Chinese calligraphy and filmmaking are disciplines deeply interwoven in his formal training and exploration over the past three decades, a ricocheting mix of mediums that push boundaries and set new destinations, within and without. The minds of great masters and creative enquiries of modern artists converge as guiding hands in his pursuits, a serendipity fuelled by studies and lessons in spirituality across cultures and continents, all collectively conspiring to shed light on the nature of reality and the symbols that mark today's civilisations, courting eyes that are curious and minds that refuse to stop questioning.
"THIRD EYE WIDE．三眼界"是視覺結構的視線遊歷。
第三眼是感知的眼。如果要用感知方式看真實世界，外在世界是怎樣的一種結構？是DNA啟動出來？是幾何結構出來？還是一切視像都只是腦內傳訊。即使是花鳥蟲魚，這些生命體觀察世界，本身接收的視像也顯著不同於人類，推論外星人看人類更會不一樣，未必如我們看自己本身。
人，只要見到有眼的圖像，其他部分的形體會隨視覺整合而生，隨視線而幻想下去，四目交投的習性是人本的，亦是畫者帶引觀者進入他的視覺世界的其中一項設定。
正因為真實世界以能量模式存在，跟肉眼見到的有很大差異。如果用這個方法去看世界，光的折射、焦點與視線的走向、時間的停頓及群體視覺記憶，如何誘導能量圖像化；而這種抽象模式又與藝術歷史有什麼關係？一切外在世界的都是空性的，是能量，在視線留神的一刻，或者，能感知非空洞的現在進行式。
"THIRD EYE WIDE" is the journey of the visual or eye faculty in the human experience.
The Third Eye is the centre of feelings and intuition, and if we were to experience reality through it, what would the external world present? Is it a world of sensations dictated by our genetic composition and predisposed modes of perception? Is it a shifting configuration of the sacred geometries that the physical world is constructed from? Or is it just a performance by the orchestra of neutrons in our brains? Birds and bees and plants and extraterrestrials see our world differently from our own world view. But how different are we as sentient beings?
When the human eye sees itself appear in the realm of visual art, it weaves all surrounding cues and elements together into an experience and an imagination originating from the perspective of the eye. The artist brings his viewers into the experience of the seer seeing and being seen.
But reality exists in a matrix of energies that the human eye does not see. If it did, the language of light would strum the chords of our spiritual being and stir the collective visual memory of our species within the vast illusion of time. The external world is empty by nature yet filled with energy. If and when the Third Eye opens and sees things as they are, we may find ourselves witnessing the continuous stream of shifting consciousness, a series of moments strung together by threads of knowingness.
Artist Statement:
藝術創作本於人與作品的淨化，連貫的，亦不連貫的，於光與虛無中互相編織可能。DavidCow於過往三十年間研習書法、設計、視覺藝術與動態影像，運用他的專業遊走於各種媒體，不斷作出越界嘗試，探索人生，疇合視覺的原始性。他的畫風不時糅合不同現代藝術大師的筆觸再創造，猶如以不同畫風作種子，灑在畫布一樣，顯現藝術本質上的自性與重生，來誘導對藝術的觀察力同興趣。結合個人對於跨文化、跨地域及靈性的探究，為視覺元素賦予不同意義，揭示現狀於未知的本質上，遊歷你與我的當代文明與符號。
Art is the synthesis and purification of the human condition, in motion and in stillness, constructed with light, in a vast emptiness ever brimming with infinite possibilities, in David’s artistic paradigm. Fine arts, Chinese calligraphy and filmmaking are disciplines deeply interwoven in his formal training and exploration over the past three decades, a ricocheting mix of mediums that push boundaries and set new destinations, within and without. The minds of great masters and creative enquiries of modern artists converge as guiding hands in his pursuits, a serendipity fuelled by studies and lessons in spirituality across cultures and continents, all collectively conspiring to shed light on the nature of reality and the symbols that mark today's civilisations, courting eyes that are curious and minds that refuse to stop questioning.
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"Such, As It Is. 2" art exhibition (Jan 2016):
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