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THIS NEW TOMORROW
CURATOR
CHiNGLiSH WANG
Artist / Curator
CHiNGLiSH WANG is an artist and curator whose practice moves fluidly between creation and curation, dissolving the boundaries between artwork, exhibition, and experience.
Guided by a refined yet rebellious sensibility, Wang examines how beauty, culture, and
material value are constructed—and how they collapse. His curatorial vision thrives on
contrast: elegance and decay, philosophy and instinct, perfection and imperfection.
Rejecting overly academic exhibition formats, Wang curates projects in unconventional spaces, transforming environments into living reflections of contemporary conditions—ecological, cultural, and psychological alike. He reimagines audience engagements through sensory and emotional immediacy, creating exhibitions that invite both reflection and participation. Across his projects, Wang cultivates spaces where imperfection becomes poetic, and meaning emerges not from control, but from transformation and reimagining.
In 1956, “This is Tomorrow” opened at London's Whitechapel Gallery as part of postwar culture's fascination with technology and progress—an era that imagined the future as something that could be designed, perfected, and controlled. It was a time of conviction that clarity would lead to utopia.
Nearly seventy years later, “This ‘New’ Tomorrow” revisits that vision with the hindsight of lived experience. The promise of perfection has faded, revealing a world marked by fragility and transformation. Rather than mourn this shift, the exhibition finds beauty in what endures: the imperfect, the weathered, and the quietly decayed.
Staged across Kibo Residences—spaces conceived through wabi-sabi principles—the exhibition invites viewers into an atmosphere where impermanence and authenticity redefine value and beauty. The aesthetic of wabi-sabi, which
finds grace in imperfection and depth in simplicity, becomes a lens for reimagining progress as patience, attentiveness, and care.
The included artworks reflect this philosophy in form and spirit. Like vision through frosted glass, some blur the boundary between what is defined and what remains uncertain. Others bear visible traces of time, process, and material transformation—echoes of lives already lived. Together, they suggest that our "new tomorrow" will not be built from pristine beginnings, but from the reimagining of what already exists: what has been used, eroded, or made imperfect through touch and time.
“This ‘New’ Tomorrow” does not offer a singular vision of the future—it unfolds as a meditation on endurance and quiet reinvention. Ultimately, “This ‘New’ Tomorrow” asks: What if the true measure of progress is not perfection or clarity, but the grace we find in the world we've actually inherited—incomplete, uncertain, and still unfolding?
THE ARTISTS
Aurora Robson
Aurora Robson is a visual artist recognized for transforming plastic waste into intricate sculptural forms. Born in Toronto and raised in Hawaii, she studied art history and visual art at Columbia University in New York, where she also trained in structural metal welding. Over the past two decades, Robson has pioneered techniques such as fastening, weaving, ultrasonic welding, and 3D printing with post-consumer and post-industrial plastic, sharing these methods with others committed to reducing waste. She is the recipient of the Pollock-Krasner Grant and a New York Foundation for the Arts Fellowship, and is the founder of Project Vortex, a global collective of artists and designers working with plastic debris. She currently lives and works in the Hudson Valley.
Robson’s practice is a form of “serious play”—a meditative process that transforms trauma and environmental anxiety into acts of optimism. By working with discarded plastic, she turns a global nightmare into a material for hope. The very permanence that makes plastic ecologically destructive becomes, in her art, a means of preservation and renewal. Through collecting and
reconfiguring other people’s waste, Robson creates works that embody care, attention, and transformation—finding beauty in what was once unloved and balance in what was once chaos.
https://www.instagram.com/aurorarobson/
https://www.aurorarobson.com/
CHiNGLiSH WANG
“I’ve always been obsessed with collision — the kind that leaves a mark. Cultures, materials, ideas — all crashing into one another until something new, something truer emerges. I grew up between New York and Taiwan, never fully belonging to either, constantly switching codes, accents, and skins. Maybe that’s why I create the way I do: out of friction, out of the need to make contradiction feel like home.
Parsons School of Design taught me how beauty is built — the architecture of fabric, the choreography of image. Venice taught me how meaning shifts, reforms, and resists — how art carries memory while questioning what it preserves. Between those worlds — art and fashion — I learned that construction and destruction are the same gesture, just seen from opposite sides of the mirror.
My work tears things apart to see what still breathes underneath. I move between art and fashion, between what’s considered precious and what’s thrown away. Each piece becomes a reconstruction — an act of rebellion disguised as elegance.
Art, for me, is never still. It shifts, flirts, decays, seduces. It remembers and forgets all at once. I live in that tension — the space where beauty and ruins meet.” – CHiNGLiSH WANG
Wang has exhibited in museums and galleries in New York, Taipei, Paris, Milan, Venice, London and Shanghai.
https://www.instagram.com/chinglish.wang/
https://www.chinglishwang.com/
Renee Phillips
As a process-driven artist, Renee Phillips explores the transformative potential of color and the materiality of paint. For over a decade, her practice has centered on the layering of modern materials built up over time that texturize into patterns that ripple, crack, and pool into lush
topographies reminiscent of Earth’s surface.
Phillips “Controlled Chaos” series is recognized for its energetic, expressive techniques utilizing diverse media such as spray paint, NYC billboards, burnings, altered ink papers and acrylic. The series was inspired by nature’s life cycles of growth, decay, evolution and rebirth.
Phillips has presented her work in exhibitions including Soho House West Hollywood, CA, Aqua Art Miami, Pen & Brush Gallery NYC and Muriel Guepin Gallery NYC. Her works have been acquired for private and corporate collections around the world including the DeJi Museum,
China, The Flatiron House, NYC and Blackberry Farms Resort, TN.
https://www.instagram.com/reneephillips
https://artistreneephillips.com/
Wu Tung-Lung
Born in Taipei in 1976, Wu Tung-Lung lives and works in Taipei. He graduated from the Department of Fine Arts at the National Taiwan Academy of Arts in 1998 and from the Graduate Institute of Plastic Arts at Tainan
National University of the Arts in 2004.
A sense of uncertainty often arises when encountering Wu’s work. At first glance, his minimalist compositions and serene colors invite formal or perceptual interpretation, yet the longer one looks, the more meaning slips away. His paintings seem to resist singular readings—what first appears rational and restrained begins to reveal layers of quiet ambiguity.
Visually, Wu constructs fields of near–hard-edge color that carry the precision of spiritual geometry. Shapes verge on the symbolic—at times recalling writing, ribbons, or organic forms—yet they remain open, suspended between symbol and silence. Through this interplay, viewers drift between perception and contemplation, finding warmth within restraint and stillness within uncertainty.
Within “This ‘New’ Tomorrow”, Wu’s works embody the exhibition’s meditation on ambiguity and presence. They offer a space where clarity dissolves into feeling, and where the act of looking becomes an act of patience. In the steady, slow rhythm of his colors and surfaces, one senses a fragile equilibrium—an invitation to dwell within the in-between, where imperfection and calm coexist.
Nicolas Lefeuvre
Nicolas Lefeuvre was born in Rennes, France in 1975.
After a stint at the Beaux-Arts in Rennes, he graduated in 2000 from the École Camondo of Paris in architecture and design.
He traveled to Asia where in 2001 he opened a creative studio/gallery in Singapore. In 2004, he became the creative director
of Chanel in Tokyo, then Hong Kong, while painting in parallel.
It is with ink that the artist, through landscape and mental architectures, will structure his style. Essentially using ink on paper, he paints with objects customary in the countries he travels through: kimonos, Japanese shoes, mahjong dice, etc. Wandering through luminous and abyssal landscapes, his work invites you to travel.
He exhibits his work from Singapore to Tokyo, from Hong Kong to Shanghai, and from Brussels in Paris, without forgetting Italy and Portugal.
https://www.instagram.com/nicolas_lefeuvre/
https://www.nicolaslefeuvre.com/
Chenyi x imperfekt
Chenyi, whose name means the beauty of morning, carries a sensibility shaped by purity, warmth, and hope. After years in New York, she returned to Jingdezhen in search of the quiet rhythm of clay, fire, and time.
Her collaboration with imperfekt—a lifestyle brand that sees imperfection as a source of authenticity, beauty, and depth—reflects a shared belief that work should honor material truth rather than strive for flawlessness.
In Box 30, each piece retains the memory of its making. The natural shifts of clay—subtle cracks, variations, and firing marks—shaped the forms, giving them resilience and presence. Building each box is a measured, meditative process; brush traces and layered glazes create a sense of movement, texture, and nostalgia. Through this series, she explores balance, calm, and the quiet gestures that arise from the relationship between hand, material, and time.
https://www.instagram.com/chenyi.ceramics?igsh=MThxaHEyemVsMjBibg==
https://www.instagram.com/imperfekt.nyc?igsh=MTd6bGNvaGp4cnNocw%3D%3D
