Artist Adrian Wong’s Orange Peel, Harbor Seal

This spring, the Chinese Culture Center (CCC) of San Francisco continues its annual Xian Rui (‘fresh’ and ‘sharp’) exhibition series with Orange Peel, Harbor Seal, Hyperreal, the first solo exhibition in the Bay Area of the work of critically-acclaimed American artist Adrian Wong. The six new sculptural works, created specifically for the exhibition, excavate the similarities and parallels between the present architecture and design of San Francisco’s Chinatown and that of Hong Kong circa 1970.

Wong, also selected as one of 31 international artists to participate in the Asian Art Museum’s concurrent Phantoms of Asia contemporary art exhibition , relies heavily on a research-based method to explore the intricacies of his relationship to his environment — experientially, historically, culturally, and through the filter of fantastical or fictionalized narratives.

Wong made three separate trips to San Francisco in preparation for the exhibition at the CCC, spending countless hours wandering the streets of Chinatown. Based part time in Hong Kong, he was struck by the closely related, but distinct sense of nostalgia that asserts itself visually in both places.

While the Cultural Revolution raged in China in the 1960s and 1970s, British-ruled Hong Kong experienced a vibrant and often idiosyncratic commingling of western psychedelic and traditional Chinese design cultures. References to Taoist cosmology in decorative motifs and staid patterns were suddenly re-presented in colorful abstractions of their original ceremonial counterparts. This now iconic heyday of design, made mythic during the Golden Age of Hong Kong cinema, was burned into the collective consciousness of not only the Chinese Diaspora but also of the world at large as representative of the “exotic East.”

Across Hong Kong, the products of this period became ubiquitous and remain distinctive to this day—though most have fallen into disrepair. Carrying the markers of decades of use, they nevertheless continue to catch the eye, making appearances in unexpected places: in alleyways, beneath layers of dust in Chinese medical dispensaries, well-worn countertops in local eateries, and in piles of detritus generated by the unending urban renewal projects initiated by the tourism board.

In San Francisco’s Chinatown, on the other hand, Wong found this aesthetic alive and well – a shiny and new version of elegance borrowed from another era. From the color palette of the mosaic tiled exteriors to the low-cost chandeliers, Chinatown looked to him like a living, but distorted simulacrum of Hong Kong in the 1970s – one that, according to him, “produced an analogous but fundamentally different kind of nostalgia for the period—sanitized, artificial, but still potent as if the simple act of simulation had become authentic despite its inaccuracies.”