About
Chong Yanhong’s recent research investigates "between space" as a temporal, relational and material interval where spatial experience emerges through the interaction of drawing, installation and embodied perception.
She centres on graphite, kozo paper and cast paper shells, treating drawing as both image and event, where marks, tearing, stacking and wrapping generate intervals, gaps and overlaps that reconfigure how space is sensed. Through this process, Chong explores how fragments 'find' one another in constellations that must be navigated through close, durational looking and bodily movement.
Her installations translate drawing into walkable situations, where hollow cast shells and minimal supports stage precarious intervals between support and collapse, presence and disappearance. Across these works, she proposes drawing as a critical method for holding open fragile intervals of attention in which relations between site, memory and material can be more acutely felt.
She is a recipient of the Winston Oh Travelogue Award (2026) and the AAF Young Talent Programme (2015/16), which culminated in her solo exhibition This Too Shall Pass at ION Art Gallery.
Chong completed her MA in Fine Arts at LASALLE College of the Arts, University of the Arts with a Merit award, and previously obtained her Bachelor of Arts (Hons) from Goldsmiths’ College, University of London at LASALLE, graduating with a scholarship for academic excellence.
Her ongoing practice continues to expand drawing as a critical and exploratory mode of articulating material and spatial experience.
Where They Find Each Other (2026)
Digital print and gel medium on Kozo paper
126 x 420 cm
Where They Find Each Other
Where They Find Each Other originates from two ways of knowing Windsor Nature Park.
Walking its trails, each rooted tree’s posture inscribes a quiet gesture into space, perception shaped through embodied encounter. Viewed from a distance, the same forest instead gather into a picturesque, motionless image, their density and noise compressed into a calm surface.
Yet that stillness carries the memory of walking within, imagination folding prior encounters into the distant view—raising a wider question of how landscape is known: through bodily presence or through remembered image.
This work holds both registers at once. On an evening walk, I began gathering fallen branches, arranging and rotating them until each configuration read as a drawing already existing in space—extending my drawing practice into found material.
Photographed and isolated, each piece is 'fibre-lifted' into skin-like squares of thin, translucent paper, where twig silhouettes sit suspended against a void background—enlarged into a 126 x 420 cm field of hundreds of 15 x 14 cm pieces.
This shift enacts the same co-production of perception and material agency: the branches’ bends are registered rather than controlled, while the eye traces alignments between twigs and voids.
From afar the surface reads as an expansive field recalling the park itself; up close, its voids become zones of silence, redirecting attention to material detail—memory and immediacy held together in one durational act of looking.
Nothing Stays Still Long Enough (2026)
Aluminium tube, graphite and acrylic medium on Kozo paper
Dimensions variable
Research methodology and theoretical framework
This research investigates how drawing can reveal and articulate space as an intermediate site—what I term “between space”—a temporal, relational and material interval where spatial experience emerges through the dynamic interaction between material, gesture and perception.
Centring drawing as a methodology, the research examines how the agency of drawing media, as discussed by Jane Bennett, shapes this interval, and how that agency is not fixed to a single medium—as drawing’s materials shift and expand, so too does the interval they produce.
Spatial experience is treated not as fixed but as an active, transformative and negotiable zone—a premise that extends the inquiry beyond the drawn surface into three-dimensional and installation-based configurations, where “between space” is tested as a condition the viewer can physically enter and move through, rather than one they only observe.
Caddie Aiw
Deanna Ng
Agastya Sharma Laimayum
Brenda Lee
Ashley Hi
Yin Chua
