Alexander James in Burberry at his Hong Kong Solo Exhibition

To meet Alexander James is to meet someone who has stopped negotiating with the square. There is nothing theatrical about James. Instead, there is a sense of ease, down to earth and friendliness when you speak to him. His strong introspection and deep knowledge in the art world immediately draws you to how he perceives art which is reflected in his current solo exhibition in Hong Kong. Presented by Phillips, the exhibition is titled ‘Dissecting the Square. Colours and Black’ by Alexander James.

A British born multimedia artist, James has previously exhibited in London, Paris, and New York building an international presence and is now debuting his solo exhibition in Hong Kong. This past Friday, we got to experience more of James’ world where the exhibition opened up with an intimate media tour followed with a meet and greet, setting the tone for what is to come for the rest of the evening.

Speaking to James, you come to learn that the title of his exhibition emerged from a turning point in his studio back in the UK. One early morning, a beam of sunlight cuts sharply across his empty canvas where he noticed how the light was “literally dissecting the square.” What might have passed as a fleeting moment of introspection and inspiration had served as a pivotal moment in his journey.

The programme for the evening continued with a panel talk hosted in conversation with Phillips where James expanded on his relationship with the square. Some of his current and signature paintings include Blue Pulse and a Summit of Souls and audience members took the opportunity to share their gratitude towards him for his paintings. They even expressed how purchasing his past works had significantly impacted them and how deeply they appreciate his work.

The evening also had an opening reception that brought together the Phillips auction community, long standing collectors, and a new generation of cultural voices. Throughout the evening, James noted the importance of his metropolitan background, sharing that he hopes audiences can feel that influence when they view his work.

INTERVIEW: ALEXANDER JAMES

T&C: You were born in the UK and your work has been exhibited internationally. What has that journey been like for you?

AJ: Honestly, I feel incredibly grateful. I’ve met so many great people and like minded creators along the way. It’s always special to see the work exist in different spaces. Showing in different countries gives me exposure and new experiences that I take back to London and feed into my work. A lot of my work is about relationships and people, so those experiences are really meaningful to me.

T&C: Let’s talk about “Dissecting the Square.” Can you take us back to that moment?

AJ: Yes. Being in London, we don’t get consistent sunshine, so when the sun does come out, it’s special. I don’t usually rush straight into painting. I sit and think first. When the sunlight comes into the studio, it cuts across the space and creates these symmetrical lines and shapes, dividing the room into light and shadow. It almost creates its own narrative.

This had been happening for years, and I’d just carry on working. But one day, while speaking with the Philips team on a sunny day, I noticed it again and said, “It’s like dissecting the canvas.” That phrase stuck. We sat with the idea and eventually developed it further. I think subconsciously I’ve also been influenced by artists like Sean Scully and Josef Albers, who work with the square in such instinctive and personal ways. They manipulate it so distinctively, and I suppose that connection fed into the idea as well.

T&C: You’ve been to Hong Kong twice now. Have you noticed anything here particularly in the architecture that connects to your work?

AJ: I’ve been here for four days this time, and I came with a friend from London. We’ve been shooting film and taking photos, working on something that co exists with this exhibition. What really strikes me is the energy. I love the chaotic pace. Coming from London, I’m used to a metropolitan rhythm, but Hong Kong feels even faster and more intense. The architecture is amazing. There are a few buildings in particular which had strong 90s feeling which grabbed my attention. I love the Lippo Centre and the sculptural quality of these two towers. Their bold, angular forms make them feel like giant mechanical sculptures rather than ordinary buildings, giving Hong Kong a truly distinctive landmark. It’s as if you placed you in the past and future at the same time and I really enjoy things that create that particular type of confusion.

More generally, I love the openness of the people here. There’s a friendliness and accessibility that feels different from London, and I really appreciate that.

T&C : As a role model for the next generation, what advice would you give to young artists entering the art world?

AJ: You’re going to hear a lot of voices, some of which are positive, some negative. It sounds obvious, but your gut instinct really does matter. You have to try things. Without trying, you don’t get anywhere.

When I was younger, I didn’t know where any of this was leading. And honestly, we still don’t fully know where life takes us. But we usually have a sense of direction, something that feels right. There will be trial and error. Some things won’t work out. But you just keep moving. Otherwise, you’ll sit there wondering what might have happened if you’d tried. People will always have opinions — you have to block out the noise and do what feels right in that moment.

Alexander James’ exhibition is on view until May 31, 2026, the exhibition highlights James’s ongoing exploration of the square as both a compositional device and a symbolic boundary.