Pearl Lam Projects

Pearl Lam Projects A driving force in Asia’s contemporary art scene with spaces in Hong Kong and Shanghai

Founded by Pearl Lam, Pearl Lam Galleries is a driving force within Asia’s contemporary art scene. Pearl Lam Galleries presents museum-quality exhibitions that re-evaluate and challenge perceptions of cultural practice in Asia. With a thoughtfully balanced roster of Chinese and international artists, the gallery is strategic in its curation, positioning itself as an educator. With over 20 years of

experience, the gallery continues to play a vital role in stimulating cross-cultural exchange between East and West. The gallery maintains a flagship space in the historic Pedder Building in Hong Kong, whilst the Shanghai gallery is situated in the heritage architecture in the Bund district.

24/06/2026

Built from weathered wood, rusted metal, and organic matter, Leonardo Drew’s materials carry histories of their own. Often hand-altered in the studio—“burned,” “oxidised,” or “eroded”—they reflect personal memory, sociopolitical narratives, and themes of “mortality” and “time.”⁠
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Leonardo Drew’s works are always sculptural, although he tends to avoid making freestanding pieces. Instead, he will often mount objects onto panels or directly to the wall, which can be seen as a nod to his beginnings as a painter and draftsman. ⁠

The materials he chooses are of particular importance. They often reflect memories of his days in the projects, sociopolitical issues related to his African-American ethnicity, or themes of death, darkness, and decay.⁠

Leonardo Drew () (b. 1961) was born in the USA. His practice unfolds as a visceral meditation on memory, material, and transformation—where “destruction” and “renewal” exist in constant tension, echoing the cycles of “decay” and “regeneration” found in the natural world.⁠

🔗 Discover more about the artwork via the link in bio.⁠
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Artwork:⁠
LEONARDO DREW (b. 1961)⁠ ⁠
Number 12C, 2015⁠
Wood and paint⁠
58 x 62 x 11 cm (22 7/8 x 24 3/8 x 4 3/8 in.)⁠

23/06/2026

Qiu Anxiong () is a key figure in contemporary Chinese art, known for merging traditional ink painting with experimental animation and video.⁠
His work is significant because it rethinks how China’s past, present, and future are visually imagined within global contemporary art discourse.⁠

Drawing on 'The Golden Bough', Sir James George Frazer’s 19th-century comparative study of mythology and religion, Qiu’s series of the same name evokes the idea of “re-enchanting a disenchanted world.” Across these works, Qiu constructs a heterotopic space in which tradition and futurity interweave.⁠

Rather than functioning as nostalgia, these works construct a suspended space in which tradition and futurity are brought into unstable relation—an environment where meaning is continuously negotiated rather than fixed.⁠

🔗Learn more about the artist via the link in our bio!⁠

Artwork:⁠
QIU ANXIONG (b. 1972)⁠ ⁠
The Golden Bough—The Cougar and the Robot 2, 2021⁠
Acrylic on canvas⁠
240 × 200 cm (94 1/2 × 78 3/4 in.)⁠

  “Inspiration is everywhere. There is a Tibetan saying: every object has its spirit, but to extract feelings from the o...
22/06/2026

“Inspiration is everywhere. There is a Tibetan saying: every object has its spirit, but to extract feelings from the object is a very difficult task.”⁠
— Ni Zhiqi.⁠

He suggests that inspiration is not rare or limited to extraordinary experiences. It can be found in ordinary objects, natural forms, daily life, and human interactions. The challenge is not finding inspiration, but recognising it.⁠

Ni Zhiqi (b. 1957) () is an artist whose practice centres on “abstraction” through the simplification and extraction of “concrete forms.”⁠
Ni considers his works to be a special type of abstract painting that focuses on the simplification and extraction of a concrete and particular object. Even an enormous representational system can be simplified and portrayed as a close-up of one of its parts under his expression, retaining an emotional or tactile feeling or fragments of memories.⁠

🔗Learn more about the artist via the link in our bio!⁠⁠

Artwork:⁠
⁠Ni Zhiqi (b. 1989)⁠ ⁠
Alhambra No. 26, 2017⁠
Mixed media on canvas⁠
165 × 130 cm (65 × 51 1/8 in.)⁠

21/06/2026

Babajide Olatunji () is a Nigerian artist whose work explores history, identity, and cultural memory.⁠

🎨 His portraits are entirely fictional, meticulously constructed by combining facial features observed in everyday life. Through these imagined figures, he engages with traditions such as facial scarification across Nigerian ethnic groups, reinterpreting them within a contemporary context.⁠

The former is a collection of portraits that explores the ancient practice of facial scarification within Nigerian ethnic groups. The faces in the series are illusory yet informed by the artist’s interactions and discussions with carriers of the marks, which are signifiers of identity and tribal heritage. Olatunji’s Aroko series features drawings of a cryptic messaging system used by the Yoruba based on physical objects.⁠

Born in 1989, Olatunji is a self-taught, full-time artist based in London. Working across hyperrealism and trompe l’œil, he combines acrylic, charcoal, casein, and pastel to create strikingly lifelike compositions.⁠

✨ Discover more via the link in bio.⁠

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Artwork:⁠
Babajide Olatunji (b. 1989)⁠
Tribal Marks Series III #73, 2022⁠
Pastel & acrylic on canvas⁠
150 x 150 cm (59 1/10 x 59 1/10 in.)⁠


20/06/2026

A.A. Murakami (.a.murakami) works across sculpture, film, and immersive installations, exploring themes of regional identity and the future of resources in the age of globalisation. 🌏⁠

They present 'Mother': the neon gas, held in a plasma state within a glass tube, is illuminated by an electric field. Power is transmitted electromagnetically through the air, activating the gas in a way that echoes the Sun’s role in creating the Northern Lights. Unlike conventional neon, where tubes emit a single colour, the illumination here is a soft glow of shifting gradients, from deep blue to sunset orange.⁠

'Cell 2' is made from foamed aluminium, an innovative industrial material whose porous structure evokes the form of a traditional Chinese scholar’s rock. In this work, A.A. Murakami projects the natural aesthetics of Chinese gardens onto a lightweight material created by injecting a foaming agent into molten aluminium.⁠
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✨ To learn more about the artist, tap the link in bio!⁠

Artwork:⁠
Cell 2, 2020⁠
Foamed aluminium, ⁠
stainless steel plinth,⁠
Rock size: 58.7 x 48.8 x 54.9 cm (23 x 19 1/8 x 21 1/2 in.);⁠
Plinth size: Dia 132.4 x H30 cm (Dia 52 x H11 3/4 in.)⁠

Mother, 2020 ⁠
Neon tube⁠
120 x 120 x 13.2 cm (47 1/8 x 47 1/8 x 5 1/8 in.)⁠


19/06/2026

The work does not seek to command attention through spectacle. Instead, it invites viewers to engage with its subtlety and quiet presence, qualities that are best appreciated within an environment conducive to reflection. In this regard, the Palazzo provides an ideal setting. As a destination in itself, it encourages visitors to slow down and spend time with the exhibition.⁠

The exhibition is conceived as more than a conventional viewing experience. Visitors are encouraged to read, sit, have tea, and engage in moments of contemplation alongside the artworks. Rather than moving quickly through the exhibition in an attempt to absorb everything at once, they are invited to experience it at a measured pace.⁠

By creating a space removed from the pressures of speed and constant consumption, the exhibition offers a refuge for reflection. The artworks function not only as objects of appreciation but also as catalysts for personal meditation and thought, fostering a more intimate and inclusive encounter with art.⁠

Su Xiaobai’s solo exhibition ‘Alchemical Universe’ is presented by LACMA () and the Su Xiaobai Foundation () as an official Collateral Event of the 61st International Art Exhibition – La Biennale di Venezia (). ⁠

Visit the Su Xiaobai Foundation website for more details.⁠

📍 Su Xiaobai: Alchemical Universe, Palazzo Soranzo Van Axel, Venice⁠
📅 9 May – 22 November 2026⁠
🕐 10 am – 6 pm. Closed Tuesdays.⁠

—⁠

Courtesy of Su Xiaobai Foundation ⁠
Video by Jesse Zhou⁠ ⁠

18/06/2026

As a Lagos-based Nigerian artist, Alimi Adewale () explores the profound beauty and cultural tapestry that define the African experience.⁠

‘Figuring Presence’ traces recurring subjects in Adewale’s practice, offering new readings of the rich influences embedded within his oeuvre while emphasising the artist’s symbolic return to the originary “language of beauty” rooted in ancient African traditions.⁠

Prioritising the depiction of spiritual and human essences over literal realism, Adewale’s figurative expression serves as a pretext for constructing a transcendent symbolic imagery that fuses aesthetic categories, stylistic references, and media.⁠

The artist conflates African aesthetics with the emotional intensity of contrasting colour tones and figural distortion, translating his perceived reality into essentialised sculptural forms and gestural paintings.⁠

Now on view: 'ALIMI ADEWALE: Figuring Presence' at Pearl Lam Shanghai through 30 June. The exhibition traces the marks we leave behind and the unseen connections that shape our shared existence.⁠⁠

Artwork:⁠
⁠ALIMI ADEWALE (b. 1974)⁠
Dance of the Spirit, 2025 ⁠
Acrylic on kilim⁠
Diptych⁠
130 x 216 cm (51 1/8 x 85 in.)⁠

17/06/2026

Gatot Pujiarto’s () works are narrative and figurative. Metaphor is often used in order to communicate a story, criticism, or observation of society or moral issues.⁠

The techniques and mediums in Pujiarto’s works are varied and used to communicate the themes, perspective, and emotions he felt at the moment. The rough, spontaneous brushstrokes and textures in he works—pasting, patching, layering, tearing, binding, making patterns of the fabric—reflect the wild and chaotic circumstances of the inner mind.⁠

The story behind this work, 'Raja Tega/Vile King' is about human behavior that has power. This power can be physical, material, knowledge or position. But that power is not used for the good of mankind but instead makes the person become someone who is arrogant, arbitrary and uses that power to control others for his personal interests⁠.⁠

🔗Learn more about the artist via the link in our bio!⁠

Artwork: GATOT PUJIARTO b. 1970⁠
Raja Tega/Vile King, 2019⁠
Acrylic on canvas ⁠
200 x 150 cm (78 3/4 x 59 in.)⁠

16/06/2026

Michal Korman (.artist) reflects on “memory” through “intimate still lifes”. In 2009, he was also recognised as one of the Committee of Regions Forum’s “100 Young European Creative People of Exceptional Talent”, with the selection organised by Europe’s Creative Cities and Regions on the occasion of the European Year of “Creativity and Innovation”, Belgium.⁠

Korman began his art education at age five under Slovak painter Jozef Jelenak, building his foundation over three years. He focuses on traditional oil painting, drawing inspiration from the beauty of “flowers”, “gardens”, and “nature”. His work captures these elements using solid oil paint chunks, enhancing compositions and aiming to evoke “excitement” in viewers.⁠

Korman’s style blends “figurative motifs” with “graphic design”, exploring the relationship between “colour” and “form”. His passion for nature is evident throughout his practice, translating the vibrancy of the outdoors onto canvas. He lives and works in Paris, continuing to evolve his artistic vision.⁠

⁠To find out more about the artist, tap the link in bio!⁠

Artwork:⁠
Michal Korman (b. 1987)⁠
Smoke Signs, 2025⁠
Oil on canvas⁠
120 × 90 cm (47 1/4 × 35 3/8 in.)⁠

Ni Zhiqi (b. 1957) () is an artist whose practice centres on “abstraction” through the simplification and extraction of ...
15/06/2026

Ni Zhiqi (b. 1957) () is an artist whose practice centres on “abstraction” through the simplification and extraction of “concrete forms.”⁠

'26 Timeless Classic' presents a pared-down, almost minimal silhouette of a dress form, reducing the figure to its “essential structure” while retaining a sense of presence and memory.⁠

His works were presented in 'FLÂNEUR: A Solo Exhibition by Ni Zhiqi' (2020), a past exhibition at Pearl Lam Galleries, Hong Kong.⁠

Ni considers his works a unique form of “abstraction”—where even complex “representational systems” can be distilled into “intimate fragments.” Through this process, he preserves “emotional resonance” and “tactile traces” of lived experience.⁠

Working with mixed media, Ni often incorporates handmade paper, collage, and layered paint. His surfaces reveal subtle textures and material imprints, emphasising the “physicality” of the work.⁠

⁠⁠Learn more via the link in bio 🔗⁠

⁠Artwork:⁠
⁠Ni Zhiqi (b. 1957)⁠
Timeless Classic, 2022–23⁠
Mixed media⁠
165 × 165 cm (65 × 65 in.)⁠

#⁠NiZhiqi

Address

G/F Ruttonjee House, Ruttonjee Centre, 3-11 Duddell Street, Central
Hong Kong

Opening Hours

Monday 10:00 - 19:00
Tuesday 10:00 - 19:00
Wednesday 10:00 - 19:00
Thursday 10:00 - 19:00
Friday 10:00 - 19:00
Saturday 10:00 - 19:00

Telephone

+85225221428

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