Unfortunately, the link to a text in the course materials, this one titled Colart Loved By: Gordon Cheung, is dead but the video article is not and so I am relying on that and articles found in a search for Colart.

This is from Elephant which seems to be a magazine:

“London-based artist Gordon Cheung discusses his tools of choice: a computer, spray gun and paint. You can find out more about Colart’s Loved By campaign, which launches this weekend [January 2018] at Creative World in Frankfurt.” https://elephant.art/colart-loved-by-gordon-cheung/

In the video, Cheung talks about substituting other materials for paint – layering and moulding newspaper for instance – and then reintroducing paint later in the process. He also makes solid ribbons, strips, and globules of paint to become dry and malleable so that he can build images with them in three dimensions – something I am very pleased to say I had begun doing last year but with perhaps less intent. In my case, I was peeling solidified acrylics from my palette and gluing them onto new pieces of work, introducing more paint and/or materials to that as seemed creatively appropriate.

Cheung also uses sand in his work (tick!) but I would like to bet he has not incorporated hedgehog poo.

Latterly, he seems to have moved into NFTs where, “All you’ll need is an Objkt account or a Tezos Wallet. If you don’t have one, we will walk you through the process below. Post your Tulip Maniac on social media and tag #GordonCheungNFT @gordoncheung to be featured.” according to his website.

His ‘hallucinogenic’ landscapes, some of them painted on newsprint, are interesting:

“[These are] constructed using an array of media including stock page listings spray paint, acrylic, inkjet and woodblock printing. He has taken part in group exhibitions in Europe, Asia, South America and the USA. Solo exhibitions include Ann Norton Sculpture Gardens, West Palm Beach, Florida (2017); The Whitaker, Rossendale (2017); Nottingham Castle Museum, Nottingham (2016); Leila Heller Gallery, Dubai (2016); Centre For Chinese Contemporary, Manchester (2016); Alan Cristea Gallery, London (2015, 2011 and 2008) and New Art Gallery Walsall, Walsall (2009).” via the Cristea Roberts Gallery.

His Minotaur has a Bisa Butler look about it.

I am really not sure where else to go with this. Affable as Cheung is, I don’t feel driven to follow him up, and the instruction to ‘research his contemporaries’ feels rather uncontained. Now I know of him though, I can revisit his work if the imagery plugs into something more directly relevant.