Abstract

This article analyzes the current political predicament of Hong Kong by examining Nightmare Wallpaper, an art project composed of a series of automatic drawings made by local artist Pak Sheung Cheun. He made them while attending the court cases of political activists on trial, and the article further explores his subsequent efforts to transform this work into wallpaper prints, a series of installations, and a book. This political work, which is also very private, vividly and honestly demonstrates the artist’s intense struggles, along with the despair felt by many in the city. The earnest self-reflection shown in the art does not give his audience a way out of the blind alley of the present but invites us to express ourselves and to connect with others. It is both a work of abjection and intersubjectivity, with no naïve expectation to reconcile the tensions between them. It shows, rather, a determination to participate in an uncertain future, combining the artist’s and the city’s capacity of meaning production and imagination. The Nightmare Wallpaper project also reveals how this artist, as part of a protest community, struggles to overcome binary thinking through an affirmation of becoming.