Every day, we face the same question: what should we eat today? After all, there are only so many meals in a day. We scan the menu, hesitate, weigh our options — and finally choose the flavor we most crave at that very moment. It's such an ordinary act that we almost forget: life is built, bite by bite, from these seemingly insignificant moments.

We also forget that certain flavors can carry us back to a certain place. It might be a bowl of noodles, a piece of candy, or a table full of home-cooked dishes. Or it might be a person, a city, a time we can never return to. As we grow older, we start counting calories, prices, minutes. We even begin to question whether the joy before us is really worth it. Sometimes we move so fast that we forget to pause — to simply sit down and enjoy a proper meal.

Opening Reception: 2026.9.12 Saturday 5 - 7pm

Gallery address: Shop 202, 1-2/F, Tai Kwun, Central

Hong Kong visual artist Matthew Tsang continues his exploration of materiality, transforming the exhibition space into a dynamic site for perceptual experimentation. Works are constructed from the physical traces of material transformations shaped by time and environment. By using these shifts in material states as a medium, Tsang investigates the subtle yet tense connections between everyday life, culture, the environment, and the contemporary state of human existence.
This exhibition places strong emphasis on site in flux and process. Over the course of the exhibition timeline, the artist will continuously interact with the installed works, reconfiguring and altering the scene. The artworks are no longer fixed outcomes, but evolving organisms that change over time. The exhibition space thus becomes a fluid site of dialogue among artist, material, and viewer.

Opening reception: 11.09, 5:00 – 7:00pm

Gallery address: 9/F, Cheong Tai Factory Building, 16 Tai Yau St, San Po Kong

HART HAUS is pleased to present Garden Whisperers: Attuning to Ecologies of Coexistence, an award-winning exhibition project from the Curatorship Incubation Programme. Curated by Mankit Lai, the group exhibition features works by Chen Dandizi, Melody Qingmei Li, Florence Yuk-ki Lee, Liao Jiaming, Green Mok, Tang Kwok Hin, Shawn Pakhin Tang, Timur Si-Qin, Tong Wenmin, Benjamin Ryser, Dorothy Wong Ka Chung, Chung Wong, and Woo Hannah. 

Garden Whisperers transforms HART HAUS into a night garden. Neither wholly natural nor entirely human-made, the garden is a site rooted in the entanglement of socio-cultural and ecological forces, growing and evolving through the ongoing interactions between humans, more-than-human beings, and their shared environments. Taking the garden as a metaphor, the exhibition invites visitors to wander through the nocturnal landscape and attune to the subtle relationships that sustain coexistence. 

Often imagined as a highly developed "concrete jungle," Hong Kong emerges instead as a unique metropolis where verdant mountains, coastlines, and rich ecologies meet dense urbanism. Taking this city as its point of departure, the exhibition brings together 13 artists working across Asia whose practices explore often overlooked dimensions of coexistence, extending and reimagining the entangled conditions of city and nature. Together, their works weave a tapestry of life's quiet whispers, inviting audiences to attend to the multiple dialogues embedded within symbiotic existence—adaptation, negotiation, conflict, collaboration, and care—while sensing the ever-moving pulse of life that course between urban and natural worlds. 

Opening reception: 12 September, 3-7 pm

Venue address: G/F and 3/F12P SmithfieldKennedy Town

We are delighted to invite you to visit “We Are the Things Monsters Love” by Alex Huda, which will be open from 1 Aug 2026 to 9 Aug 2026 at WURE AREA. The project will be presented at Tomorrow Maybe at Eaton HK (Jordan, August 15–30), and ACO Art Space (Wanchai, September 12–27) after.

"How do those rejected by society construct their own systems of meaning through myth, ritual, and unconventional intimacy?"
This documentary portraiture project creates a radical intersection between ancient Chinese shamanic traditions and Hong Kong's emerging Voidpunk counterculture. At its heart lies a powerful new mythology where monsters and outcasts find belonging in each other. By reimagining the Nine Deities from Qu Yuan's 3rd-century BCE poem, Jiu Ge (The Nine Songs), as cyberpunk monsters who spurn humanity but embrace the Voidpunks, the work explores how we can transmute the parts of our identities that society deems alien into sources of divine power and unconventional intimacy.

Venue address: ACO Art Space, Foo Tak Building, 365-367 Hennessy Road, Wan Chai

The structures we inhabit also have a peculiar way of inhabiting us. They inaugurate us as subjects, place us within society, offering specific understandings of morality, ethics, and justice. In other words, they often aid in placing us as social beings, and thus giving way for the expressions that make us most human to emerge. But what is it that happens when these structures are totalising? What does one do in response to the rigid dogmas of the powers at large? 

Borrowing its title from a work by Koller, UFO: Universal Futurological Organisation brings together 9 artists from Central and Eastern Europe and Hong Kong namely Andrei Pokrovskii, Angela Chow, Clarice Blanche Hu, Djordje Ivačković, Jocelyn Chan, Július Koller, Kateřina Ondrušková, Monika Žáková, Vlado Martek. Working across sculpture, drawing, and painting, the artists included in this exhibition pull focus (in resonance with Koller) on the small gestures that widen our imagination of the future. UFO: Universal Futurological Organisation initiates a dialogue shared by artists across geographies and temporalities, as each responds to the social and affective paradigms that surround them. 

Opening: Saturday, 12 September 3-6pm

Gallery address: 68 Lok Ku Road, Sheung Wan

wamono art presents Echoes of Time, a duo exhibition by Hong Kong artist Rebeka Tam and Japanese artist Shiori Kaneko. Rebeka’s work draws from historical traces found on Hong Kong’s public walls, while Kaneko’s sculptures emerge from imagined timelines within abandoned buildings. Together, they reveal how ceramics can hold both transformation and stillness, capturing the fantasy of fixing time itself.

In this exhibition, the ever‑shifting flow of time is quietly anchored in the enduring medium of ceramics—a material that retains its form across decades. Each artist brings her own sensibility and originality to the exploration of memory, traces, and the fragile gaze cast upon a world in constant transition, guiding viewers into distinct narrative realms. Echoes of Time invites audiences to immerse themselves in a fantastical space where time seems to be held within the permanence of fired clay.

Opening: 12 September, 4–8 pm

Gallery address: 10/F, Derrick Industrial Building,
 49 Wong Chuk Hang Road

This work draws inspiration from my observations and reflections on nature. I focus on elements encountered during hikes, using abstract ink techniques to capture their mystery, distortion, and intertwining forms, as well as their interaction with my inner world. These works aim to seize the fleeting, elusive beauty of nature, revealing the interplay of existence and transience. I hope viewers feel nature’s ever-changing depth through these paintings.

Entrance captures a striking moment upon entering a forest. The painting depicts a broken tree trunk with roots sprawling and intertwining with the earth against a dark environment.

Opening Reception: 12 September (Saturday), 2–6pm

Gallery address: 2/F, East 17, No. 17 Main Street East, Shau Kei Wan

This presentation celebrates the museum’s fifth anniversary with a significant donation to the M+ Collections from Herzog & de Meuron (established Switzerland, 1978), the world-renowned architecture firm that designed the museum building.

The exhibition showcases newly donated models, drawings, and material samples that reveal Herzog & de Meuron’s innovative architectural practice. It focuses on built and unbuilt projects in China, including landmark buildings such as M+ (2013–2020), Tai Kwun in Hong Kong (2006–2018), and the National Stadium in Beijing (2002–2008), as well as urban planning projects that respond to how territory and landscape fundamentally shape the form of cities. These works reflect the firm’s deep engagement with China since the early 2000s, set against the backdrop of the country’s rapid economic growth and ambitious infrastructure development.

Ben Brown Fine Arts is proud to present Echoes of Day and Night, a solo exhibition of paintings by Qi Lei and the gallery’s first collaboration with the artist, who currently lives and works in Shanghai.

The exhibition centres on Qi Lei’s recent reflections on music, painting and time. The title emerged from the artist seeing the post-rock band Godspeed You! Black Emperor perform live last year. Their music is highly abstract, seldom relying on lyrics or text, and builds its structure and rhythm through instrumental performance alone. That abstract musical language led him to consider how figuration and abstraction stand in relation to one another in painting, and it has become an important point of departure for his own painterly language.

Gallery address: 201 The Factory, 1 Yip Fat Street, Wong Chuk Hang

Blindspot Gallery is pleased to present “Soft Borders”, opening on 12 September, and on view from 15 September to 7 November 2026, featuring works by Igshaan Adams, Bi Rongrong, Kazuko Miyamoto, Angela Su, Aiko Tezuka, and Yee I-Lann. Bringing together artists across diverse geographies and material approaches, the exhibition examines how borders — social, cultural, historical, and geographical — are stretched, untethered, and reimagined. Themes of community, labor, technology, and globalization come into focus. While the artists engage with the logic of weaving, embroidery, and interlacing, their material vocabularies extend beyond the thread to encompass beads, wire, bamboo, hair, metal, and enamel. Textile and fiber are approached not as singular mediums, but as sites of negotiation — between bodies and systems, hand and machine, softness and power.

Opening Reception: 12 September 2026, Saturday, 3-6pm

Exhibition Guided Tour: 12 September 2026, Saturday, 4pm (conducted in English)

Gallery address: 15/F, Po Chai Industrial Building, Wong Chuk Hang

This autumn, Kwai Fung Hin Hong Kong presents In Search of Lost Time, a group exhibition that invites you step into the comfort of home to relive the smallest, often overlooked details of the everyday. Familiar as it may seem, how much of our everyday life truly registers, and how much slips away, lost to the rush of contemporary life and constant distraction? This exhibition asks us to pause and recover the quiet beauty embedded in the ordinary.

Borrowing its title from Marcel Proust’s novel, the exhibition brings together twelve international artists, centering on their shared practice of attentive observation and sensory engagement, through which they explore how domestic interior and daily routine inform our inner lives, memories, and sense of belonging.

Gallery address: 9/F, Entertainment Building, 30 Queen’s Road Central

Axel Vervoordt Gallery is delighted to present Source, a solo exhibition of artworks by late Singaporean-British artist Kim Lim. Source brings together sculptures, prints and photographs by Kim Lim in an exhibition exploring rhythm, transformation and the vital energies held within matter. Taking its title from Lim’s 1988 sculpture, the exhibition begins with the idea of the source not simply as a fixed point of origin, but as a generative condition: a place from which forms emerge, change and return. It also refers to source material—the observations, things, experiences and documentation that inspired Lim’s artistic journey and process.

Photographs selected from the artist’s archive punctuate the exhibition. Although photography remained a constant element of Lim’s working life, these images have previously been presented primarily as archival or supporting material. Here, they occupy a deliberately ambiguous position. They offer traces of Lim’s travels and working processes, revealing her sustained attention to structures, rhythms and forms found across natural and built environments.

Curated by Bianca Chu

Opening reception: Thursday 17 September, 5-8pm

Gallery address: 21/F, Coda Designer Centre, Wong Chuk Hang

IN FOCUS at Flowers Gallery's Hong Kong space this autumn is a selection of London-based Patrick Hughes's pioneering reverspectives: three-dimensional paintings with the conventional perspectives of depth reversed to create an illusion of movement, challenging us to question what we think we see and experience. First exhibiting with Angela Flowers in London in 1970, Hughes has achieved international recognition for his lifelong exploration of pictorial space and paradox. Closely aligned with British Surrealism in the 1960s, Hughes is also renowned for the impact of his work on investigations within the fields of visual perception and cognition.

The genesis of Hughes's fascination with the concept of inversion can be traced to the artist's childhood during the Second World War. At his family home in the British town of Crewe, the safest place to hide from German bombs was in a cupboard under the stairwell, where Hughes spent hours looking up at the underside of the stairs  - a geometry that would later inform his reverspectives. Iterations of this shape emerged in the structure of Hughes's reliefs, allowing the artist to reverse expected relationships of depth and perspective and place the furthest points of a composition physically closest to the viewer.

Gallery address: 49 Tung Street, Sheung Wan

Art Intelligence Global is pleased to announce Significant Form, opening at our Hong Kong gallery on Thursday, 17 September 2026. This group exhibition marks the most significant presentation of Modern and Contemporary South Asian Art staged in the city.

Assembling eleven artists from across the region and its diasporas, Significant Form spans work made in the decades following Independence through to the present day. The exhibition traces the diverse visual languages and subjects - identity, memory, and belonging, among others - South Asian artists have pursued since 1947. Significant Form is produced in collaboration with three of Mumbai’s leading contemporary art galleries: Chemould Prescott Road, Jhaveri Contemporary, and TARQ. The exhibition is co-curated with Adeline Ooi, formerly Director Asia for Art Basel.

Opening Reception: Thursday, 17 September | 5 - 8PM

Gallery address: 1/F TS Tower, 43 Heung Yip Road, Wong Chuk Hang

Contemporary by Angela Li presents a solo exhibition by Kong Chun Nga, Kitty, Bird Watching Snowflakes. Ten years after her last solo exhibition, the artist brings together nearly twenty new paintings. The exhibition will officially open on ., with the artist in attendance.

In one corner of a sphere, a hexagonal snowflake falls from the sky, gently settling on a triangular rooftop. In another, a small slate-coloured bird stands before a window, watching grey snowflakes on a television screen. Living in the city, Kong sometimes imagines herself as a cat: her thoughts can be rebellious, yet she is often defeated by the need for sleep. At other times, she feels like a pigeon, occupied with the business of survival while searching for a place where she can rest at ease. These indescribable feelings gradually find their way into the figures, animals, and landscapes of her paintings.

She reads on the MTR and doodles during meetings, jotting down passing sentences and thoughts on sticky notes. Over time, these fragments accumulate, becoming the material from which this exhibition takes shape as a record of everyday life.

Opening reception: Thursday, 17 September 2026, 5 - 8 p.m

Gallery address: G/F, 248 Hollywood Road, Sheung Wan

Breaking the boundaries between painting and sculpture, Lucio Fontana (1899–1968) transformed the canvas into a dynamic area of light, gesture, and movement. His slashed and punctured surfaces, central to the Spatialism movement he founded, fundamentally redefined the relationship between artwork and space. Through an innovative aesthetic, his visionary practice paved the way for postwar contemporary art and continues to inspire artists around the world. In September 2026, Hauser & Wirth Hong Kong will present seminal works from 1949 onward, focusing on the revolutionary ‘Buchi’ (Holes) and ‘Tagli’ (Cuts), tracing the evolution of Spatialism and Fontana’s radical exploration of the canvas as a site of infinite possibility.

4 – 5 pm, Curator Walkthrough & Book Launch

5 – 7 pm, Opening Reception

Gallery address: G/F, 8 Queen's Road Central, Central

INKstudio Hong Kong is pleased to present Losing My Way to Watch the Flowers Bloom, the latest solo exhibition by Peng Kanglong — one of the leading contemporary ink artists and a rare 集大成者 (jidachengzhe, a “great synthesizer”) of the brush-and-ink tradition — on view from September 19 through November 28, 2026. The exhibition brings together significant works from across Peng’s career, including key works previously presented in his major 2025 solo exhibitions Peng Kanglong: Beguiling the Eye at the Guangdong Museum of Art and (In/Ex)haling the Vast Wilderness at The Historical Grand Courtyard in Taipei. Nearly 40 works highlight the development of Peng’s ink practice across different stages of his career.

Opening: Saturday, September 19, 2026 | 3:00 – 7:00 pm  

Gallery address: Shop 03-104, 1/F, Barrack Block, Tai Kwun, Central

PODIUM is proud to present ‘Halfway Across the Rubicon’, Rotterdam-based artist Luis Xertu’s first solo presentation with the gallery and in Asia. In this new body of paintings, Xertu unfolds a tender, sun-drenched world where the fleetingness of love, beauty, and youth lingers like the last light of summer. He traces delicate passages of intimacy within and beyond friendship, attending to a bittersweet ambivalence shaped by quiet tensions, hidden desires, and unspoken affections that surface as both excess and residue through the fissures of the grammar of social life.

Opening reception: 19 September (Sat), 2 to 7 PM

Gallery address: 9/F, E Tat Factory Building, Wong Chuk Hang

THE HARTZ PROJECT is pleased to present 歸樸：The 0 Degree of Looking, a solo exhibition by Korean artist Boyoung Jeong, on view from 19 September through 31 October 2026.

The world does not stop spinning, but here, it holds its breath. The exhibition introduces a quietude that realigns the gallery into a living architecture of stillness, filtering out the noise of modern acceleration to reveal the zero degree of looking. Borrowing from Roland Barthes’ concept of neutrality, it proposes a gaze stripped of narrative weight, cultural noise, and emotional projection. In this space, looking ceases to be a passive consumption of images and becomes a pure, unmediated awareness of presence.

Opening Reception & Meet the Artist: 19 Sep (Sat) 3pm - 6pm

Gallery address: 23/F, M PLACE, Wong Chuk Hang

A solo exhibition by Paris-based artist Guillaume Dénervaud, “Cell19: Observation Continues" features a new body of works on linen and two interactive sculptures. The exhibition imagines infrastructures and systems that gradually lose their original authority and become porous, welcoming unexpected forms of occupation, coexistence and renewal.

Opening reception: 19 September, 5-7pm

Gallery address: 19/F Leader Centre, 37 Wong Chuk Hang Road, Wong Chuk Hang

Christie’s announces the Hong Kong 20th/21st Century Autumn Sales, which will be held live on 29 and 30 September at Christie’s Asia Pacific headquarters at The Henderson. The season is defined by a compelling selection of works by some of the most renowned names in global modern and contemporary art, including Jean-Michel Basquiat, Yayoi Kusama, Zao Wou-Ki, Gerhard Richter, Paul Cézanne, Liu Ye, and many others.

Preview period: 22-29 September

Venue address: 6/F, The Henderson, 2 Murray Road, Central

Fresh from the record-breaking success of the sale of Masterpieces from The Lewis Collection in London*, Sotheby's is set to present its first dedicated single-artist auction in Asia, The Foujita Lexicon: Works from the Lewis Collection, on 28 September at Sotheby’s Maison, Hong Kong. Estimated at HK$17.8m - 26.5m / US$2.3m - 3.45m, the sale brings together 15 masterpieces by Léonard Tsuguharu Foujita from the renowned Lewis Collection. Assembled over three decades with passion and discernment, these works form one of the most celebrated private collections devoted to the artist and collectively represent the most comprehensive offering of Foujita's work ever presented at auction in the region.

Cheng-Lan Foundation is pleased to announce Housekeeping, the second in a two-part collection show. Opening 23 September through till 28 November at the Foundation’s public exhibition space, Cheng-Lan’s Corner, the exhibition will bring together five female-identifying artists who work across multiple mediums, including installation, photography, and sculpture; Ruth Asawa, Olga de Amaral, Elene Chantladze, Naiza Khan and Xue Ying. 

Following Home, A Fire—which explored how artistic practice is intertwined with domestic environments and the architecture of the home—Housekeeping expands the inquiry by bringing together loaned works alongside pieces from the Foundation’s collection. This broader constellation extends the investigation of art-making as rooted in notions of home and belonging for artists across diverse backgrounds and generations.

 The title of the exhibition is suggestive of the intimate, daily work of maintaining, organising, and anchoring a family within societal rules and a physical structure. Similarly, Housekeeping uplifts works by artists whose practices are indelibly inseparable from family and community life.

Opening reception: 23 September 6:30 pm-8:00 pm

Gallery address: G/F, 3 Prince's Terrace, Mid Levels

David Zwirner is pleased to present a group exhibition organized and conceived by gallerist Matthew Brown. This exhibition, titled Nocturnal, will present works by Uri Aran, Patricia Ayres, Julie Beaufils, Sedrick Chisom, Carroll Dunham, Nat Faulkner, Sasha Gordon, Kenji Ide, Olivia van Kuiken, Heidi Lau, Jack O'Brien, Kent O'Connor, Trevor Shimizu and Michelle Uckotter.

Opening Reception: Wednesday, September 23, 5–7 PM

Gallery address: 5–6/F, H Queen’s, 80 Queen’s Road Central

German artist Anne Imhof's first solo exhibition in Asia is arriving at Tai Kwun this fall, bringing together a significant survey of key works alongside a new commission, inviting audiences into her distinctive world.

The recipient of the Golden Lion at the 2017 Venice Biennale, Imhof is known for her precise choreography of bodies, attention and atmosphere. The artist constructs environments that feel at once intimate and monumental, unfolding across time and space and prompting viewers to consider how power, vulnerability and presence are staged. This ambitious presentation –  where performance, image, sound and architecture converge to create charged, immersive encounters – offers audiences a rare opportunity to experience one of today’s most influential artistic voices in an expanded, embodied encounter.

Opening Week Performances with Hong Kong Ballet and international cast:

25 & 26 Sep 2026

Adapted Performances by Hong Kong Ballet: 

3, 4, 10, 11, 24, 25, 31 Oct 2026

1, 7, 8, 14, 15, 21, 22, 28, 29 Nov 2026

Online / on-site: HK$50 (Regular)

Myths, Monsters, and Manga: The Art of Fantasy in Asia explores the role of fantasy in the evolution of Asian visual culture and its global impacts. Spanning from the nineteenth to twenty-first centuries, the exhibition presents fantasy as a potent creative tool for artists to respond to shifting sociopolitical conditions. Through imaginative stories, characters, and worlds, these artists confront complex realities that resonate with contemporary experiences. This groundbreaking exhibition reveals the links between a wide range of genres and styles, highlighting historical connections that have rarely been explored.

Unfolding across four chapters, the exhibition begins with pre-modern traditions such as Japanese ukiyo-e woodblock prints, Indonesian shadow puppetry, and Tibetan Buddhist scrolls. These traditions helped establish fantasy as a foundational element of Asian visual culture. Chapters two and three trace major twentieth-century developments, including the spread of Surrealism through Asia and the post-war emergence of Japanese manga and anime. The final chapter presents the explosion of fantastical anime aesthetics in art, design, architecture, film, fashion, video games, and digital culture around the world that continues to the present day. It shows how these creative forms move fluidly across disciplines and regions in the twenty-first century.

Windows into Heaven (working title) is a special exhibition that offers a rare glimpse into the profound legacy of Eastern Orthodox art. It presents about 100 important icon paintings and gemstone-encrusted treasures of Orthodox Christian art that span nearly a millennium from the renowned State Tretyakov Gallery in Russia. Tracing the evolution of Eastern Orthodox art, the exhibition highlights the significance of visual narratives related to Christ, the Virgin Mary, saints and the Bible in Eastern Orthodox art traditions.

Gallery 9, Hong Kong Palace Museum

White Cube Hong Kong presents ‘When the Surface Thinks’, a solo exhibition by Paris-based Chinese artist Yunyao Zhang (b. 1985, Shanghai). With this new body of work, the artist contends that meaning can reside within a surface – proposing painting as a sentient field that registers, reflects and thinks.

The exhibition presents large-scale, illusionistic abstractions from Zhang’s ‘Connector’ series (2022–present), tight close-ups of carved heads from the ‘Time’ series (2021–present), and studies of classical statuary. These works subvert the traditions of Soviet Realism and the French Beaux-Arts that informed Zhang’s early academic training.

Central to the artist’s practice is his use of graphite on felt, a material that is both light-absorbent and resistant to revision. Unlike oil on canvas, which allows for overpainting and correction, graphite becomes embedded into the textured plane. Through a sustained and highly physical process, Zhang builds tonal depth across the textile’s flatness, creating images that appear at once sculptural and weightless.

Gallery address: 50 Connaught Road, Central

Jointly organised by the Hong Kong Palace Museum and the Guimet-National Museum of Asian Arts in Paris, this exhibition features nearly 150 masterpieces of Buddhist art from Guimet’s world-class collection, complemented by significant objects from Chinese Mainland museums. The exhibition highlights the transmission of Buddhism and the stylistic development of Buddhist art along the Silk Roads. Embark on a journey across Asia, from Afghanistan and China to the Korean Peninsula and Japan, spanning from the 1st to the 10th century, discover how Buddhist artistic traditions were shaped through a millennium of dialogue, movement and connectivity.

Gallery 8, Hong Kong Palace Museum

Do Ho Suh (South Korean, born 1962) is one of the most prominent artists working today. Do Ho Suh: Belonging will be the artist’s first institutional solo exhibition in Greater China, featuring works spanning three decades, from the 1990s to the present.

The exhibition presents a series of Suh’s renowned fabric architectural installations. Referencing his diasporic experience having lived between Seoul, New York, and London, these installations are detailed, life-sized replicas of his former and current residences. They encourage visitors to reflect on their own memories of home—shaped by culture and identity—as well as ideas of mobility and place. Complementing these, the exhibition features several of the artist’s early works that explore the individual and the collective, informed by historical legacies of subjugation and conscription in South Korea as well as reflections on the notion of personal space. It also includes a selection of his delicate thread drawings and cyanotypes, which combine his reflections on identity and connection with a deep interest in materiality. More recent speculative projects and video installations reveal Suh’s ongoing exploration of boundaries and belonging, informed by his experience navigating a dual identity between homes and a world in a state of extreme instability.