Amy Cheung poses questions as primary strategy in her practice, and the resulting answers from each inquiry unfold in her work. In Ashes unto Pearl, she morphed into a life-size burning incense sculpture within a charcoal sphere releasing voices of 188 people answering an “ultimate question.” In Face Machine, she extracted Evil/Good memories from elderly people while casting their “faces off,” then have the “faces” speaking in rotation randomly picked by a robotic arm for a faceless body. At Chance Machine she asked artists if we are able to put a “pricetag” on value? What will happen to the cathedral of the art market if Yue Ming Jun's masterpiece can be WON, yet can't be BOUGHT, by everyone purchasing a chance at $2.50?
Amy Cheung lives and works in Hong Kong. She earned a BA in history of art and fine art at Goldsmith's College and her MFA from the Slade School of Fine Art, University of London. Since graduation, she has initiated numerous city interventions and large-scale public art projects in the UK and abroad. Her work shows a compassionate response to the human condition in a poetic and political yet inconclusive manner. Cheung was named one of Beck's New Contemporaries in the UK and was awarded the UNESCO-Aschberg Prize awarded by the International Fund for the Promotion of Culture. She represented Hong Kong at the 52nd Venice Biennale in 2007 and received the Outstanding Young Artist Award (Visual Arts) from the Hong Kong Arts Development Council in the same year. In 2010, she was awarded a Lee Hysan Foundation Fellowship by the Asian Cultural Council.