"Perfect Sense", solo exhibition by Chris Shen, curated by Eunice Tsang

Outside a nondescript building on Wong Chuk Street, an iron gate is seemingly closed to bar visitors. 

Wait, look closer or give it a slight nudge. It is unlocked. Walk up the worn stairs, with dust accumulated on the corners of every step.

It says 2/F but you end up on the 3rd, as the Chinese way goes.

A freshly painted white door, an alcohol dispenser at its waist level. "Not Saliva", it says. As if one would have suspected that. And why haven't we?

Illusioned by the candy-colored disco ball reflections, you set foot in this space of industrial and mechanical coldness. Being the only human being and outnumbered by the installations installed with motion sensors to trigger their automations, how can you be sure of what these machines are supposed to do? What makes you believe that they are responding to your presence? "The arrogance of self-centred human", as much as you want to shake these words off they are there to stay.

How does it feel to be left alone in an unfamiliar space? By trying to name your feelings you are exposed to the set of references that describes how you feel. Does being the master of your reaction says "freedom"? Or, only in freedom you realise that you have never been.

"Drawn Door", concealed in an adjacent room is, as the description goes, "an absurdly cumbersome installation... connects the door with a chain. The banality pf physical labour is emphasised over the 4 minutes it takes to complete the simple act of opening a door." No, it is never as simple as it seems. Coming in or going out, the sheer act of changing a position calls for the will power which is so much better laid buried in the face of absurdity.