Flat

Artist: Szelit Cheung

March 4–April 25, 2026

Opening: March 7, 2025, 5–8 pm

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Szelit Cheung, Edge V (detail), 2026. Oil on linen, 9.5 × 11.8 inches. 

Selected Works

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Szelit Cheung, Flat I, 2026. Oil on linen,15.8 x 12  inches. 

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Szelit Cheung, Flat II, 2026. Oil on linen,15.8 x 12 inches. 

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Szelit Cheung, Edge V, 2026. Oil on linen, 9.5 × 11.8 inches. 

Inquire for Szelit Cheung's Works

(New York- February 5, 2026) Fou Gallery is pleased to present Flat, a solo exhibition by Melbourne- and Hong Kong–based artist Szelit Cheung, on view from March 4 through April 25, 2026. The exhibition articulates the essence of the void through an inquiry into the relationship between presence and emptiness. In Cheung’s work, presence and emptiness do not operate as opposing forces but emerge as inextricably intertwined. The void is not conceived as lack or absence, but as a charged field in which the perception of “nothingness” generates a wide spectrum of emotional and sensory responses. The exhibition features an essay by Yifu Liu, PhD candidate at Princeton University, and Anne L. Poulet Curatorial Fellow at The Frick Collection.

This exploration of the complexity of emptiness takes form in Cheung’s luminous architectural paintings that are deliberately devoid of figures or objects. The oil paintings on linen and wood function as visual translations of emptiness, creating contemplative spaces in which the viewer’s feelings, memories, and imagination fill in the void and complete the work...

(New York- February 5, 2026) Fou Gallery is pleased to present Flat, a solo exhibition by Melbourne- and Hong Kong–based artist Szelit Cheung, on view from March 4 through April 25, 2026. The exhibition articulates the essence of the void through an inquiry into the relationship between presence and emptiness. In Cheung’s work, presence and emptiness do not operate as opposing forces but emerge as inextricably intertwined. The void is not conceived as lack or absence, but as a charged field in which the perception of “nothingness” generates a wide spectrum of emotional and sensory responses. The exhibition features an essay by Yifu Liu, PhD candidate at Princeton University, and Anne L. Poulet Curatorial Fellow at The Frick Collection.

This exploration of the complexity of emptiness takes form in Cheung’s luminous architectural paintings that are deliberately devoid of figures or objects. The oil paintings on linen and wood function as visual translations of emptiness, creating contemplative spaces in which the viewer’s feelings, memories, and imagination fill in the void and complete the work. Cheung’s investigation unfolds through a meticulous and methodical engagement with light and space: space emerges through illumination, while light becomes tangible as it is shaped and contained by architectural frameworks. Through this reciprocal relationship, the void surfaces as a quiet yet palpable presence.

Cheung’s fascination with light originates in everyday observation. Wandering through Hong Kong and Melbourne, he studies how light grazes building surfaces and pavements, finding moments of tranquility within fleeting encounters. This interest materializes in cardboard architectural models inspired by minimalist structures—miniature doors, corridors, staircases, and windows that serve as conduits of light. By continually adjusting these models and experimenting with light sources, Cheung documents moments when illumination settles into a resonant configuration, developing them into final compositions. Smaller palm-sized wood panels intensify the viewing experience, compelling close attention to the emergence of light.

The exhibition title reflects Cheung’s investigation into the thin line between flat planes and three-dimensional space. With minimal incisions into cardboard, he transforms flat surfaces into volumetric environments where shadows carve depth from planar form, exemplified in the series Flat I–VII. Other works focus on hidden or forgotten spaces. In Hidden I–V, illumination reveals spaces that oscillate between monumentality and intimacy, while Edge V, Edge VI, and Luna present some of his most specific depictions of actual domestic elements suspended between calm and mystery.

Color plays an important role in this body of work. The dominant palette of brown, yellow, and copper red is Cheung’s ode to New York, drawn from cinematic memories of the city. Installed against the gallery’s exposed brick wall, Flat VII heightens the connection between painting and a distinct architectural feature of New York lofts. In a city where light fractures across dense structures, Cheung’s work invites viewers to pause and linger, to find tranquility within emptiness, and to venture into the unknown beyond doorways and windows.

*The press release is based on the essay by Yifu Liu, edited by Iris Zhang.

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Artist

Szelit Cheung (b.1988)  Based in Melbourne in Hong Kong, Szelit Cheung is an artist whose cross-disciplinary practice spans painting, drawing, photography and installation. Cheung received a Bachelor of Fine Arts from the Royal Melbourne Institute of Technology University (RMIT) in 2012. At the 11th Asia Pacific Triennial of Contemporary Art (2024), Cheung presented a large-scale installation and a series of new paintings. The installation entered the permanent collection of Queensland Art Gallery (Brisbane, Queensland, Australia). His work is also in the permanent collections of M+ (Hong Kong) and Vancouver Art Gallery (Canada). His works have been exhibited in the United States, France, Taiwan, mainland China and Hong Kong, including Blunt Society, Shanghai (2025); Galerie Christain Lethert, Cologne (2024); Rossi & Rossi Gallery, Hong Kong (2021/2023); Wing Gallery, London (2023);  Wind H Art Centre, Beijing, China (2023); TOUCH Gallery, Hong Kong (2021/2022);  Tokyo Gallery+BTAP, Tokyo (2021). In 2026, he will present the first solo exhibition in New York at Fou Gallery.

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Essay Writer

Yifu Liu is an art historian and curator. He is a PhD candidate in Art and Archaeology at Princeton University, and Anne L. Poulet Curatorial Fellow at The Frick Collection. His research focuses on the cultural exchange and hybridization of artistic practices between Europe and China in the 18th century. He was the doctoral fellow at the Ricci Institute for Chinese-Western Cultural History at Boston College, and he worked in the curatorial and education departments of the Morgan Library and Museum (New York), Brooklyn Museum (New York), and Princeton University Art Museum (New Jersey). He also gained curatorial experiences by working in a number of art institutions in China, including M Woods Museum (Chengdu) and Museum of Contemporary Art (Yinchuan) and Today Art Museum (Beijing). Currently, he is preparing for an upcoming exhibition at the newly renovated Frick space in 2026, and organizing the annual art history symposium in collaboration with the Institute of Fine Arts of New York University in 2026.

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