A unique vibrancy surrounds Hong Kong during every Art Basel season — a fever of openings, crowds, and see-and-be-seen moments. Stepping into Inna Wegener’s Wong Chuk Hang studio, rare.weg, felt different. The space felt lived-in, with every layer of the paintings on its walls telling a story. We sat down with Inna during this art season to talk about something the community often forgets: the inner child who started making art long before the market came calling, turning sensitivity into strength. Rare.weg’s upcoming exhibition, “UA Art Salon,” running through May 15, brings together six Ukrainian artists whose works aim to challenge the world’s perception of what their country’s art can be. But to understand this exhibition, you first have to understand the woman behind it all — an IT professional by day, but a painter and a curator by night — who believes that art, above all, should feel like play.

T&C: Your work centres on derealisation — the sensation of moving through several layers of reality at once. Where does this fascination originate? 

IW: Honestly, when I was a kid, I was always extremely sensitive to the world around me. And I was in my own little world. I felt too many things — so I decided to live life as it is, without demanding an explanation. It’s a lot. It can be challenging sometimes. That’s why I’ve been painting since I was a child, as it was the easy way to express myself. For me, it’s seemingly impossible to describe your own thoughts, even if you know a lot of words. 

T&C: You mentioned that art is about expressing things that are too complicated for words. Is that why you paint in layers? 

IW: Yes. In fact, I always work on one layer at a time, putting them above one another spontaneously. I’m also using paper, not canvas. Paper, for me, is sort of like our body. When you put too much weight on yourself, we as soulful beings, could crack anytime — we simply cannot take too much. So I had to be very careful when working with the fragile paper. You need to have good intentions to feel where you paint, so it doesn’t become too heavy on top of many other layers. I’m thinking like five, at maximum. If you put even more, it’ll be over. 

T&C: And Hong Kong’s humidity doesn’t make it easier. 

IW: Exactly. Each new layer must be completely dry, which, in Hong Kong’s humidity, can take weeks. The process is slow by necessity and by choice. I refuse to rush what I am trying to say. So I had to make sure that each time I added a new layer, everything was completely dry, so every piece takes almost four months. My process is slow, but I’m never in a rush, and I think that’s the beauty of it. I don’t think, “Oh my God, I have to survive, I need to pay my rent”— a problem that all undoubtedly artists have. 

But I specifically don’t want to be in a rush because this is what I’m painting: absolute infinity of life, movement, process, universe, everything and nothing at the same time. I never work from sketches or schedules. I begin, step away, return. The painting tells me when it’s finished. There is no “top to bottom” — only presence and return. This is how I protect the work from becoming heavy or forced. 

T&C: That’s why you make it playful for yourself. 

IW: Precisely why I said that you just need to take a step back and switch off your mind, to play for yourself by yourself — it’s how you remind yourself that you are a child. It makes you feel. 

T&C: You live a double life — IT professional by day, artist by night. How did that happen? 

IW: My mother was practical. In our generation, parents pushed for stability — doctor, economist, lawyer. I followed that path to make them proud, studying full-time at two schools simultaneously: regular classes from 8 a.m. and art school until 9 p.m. That discipline shaped me. Today it allows me the freedom to run rare.weg not as a traditional gallery, but as a playground for experimentation — a small, supportive space where artists can show work without fear of being judged or whatsoever. 

T&C: That philosophy extends to how you run rare.weg. It’s not a traditional gallery

IW: I want to create an environment that feels like a playground, where you can experiment and learn from one another. Since we have a small space, there’s no need to be overly serious – you can freely showcase whatever you create in art without fear. The people who join us are all very easygoing and supportive. To us, it’s not just a gallery, but a studio of freedom for all artists.

T&C: The current exhibition, UA Art Salon, features six Ukrainian artists. What was the intention behind it? 

IW: I wanted to challenge the narrow perception many people still hold of Ukrainian art — that it is only folkloric or traditional. The young generation in Ukraine thinks and feels exactly like young artists in New York, London, Paris, Tokyo, Seoul, Beijing, or anywhere else: overwhelmed, searching for connection, pushing boundaries. Through this show I am protecting something fragile — the right to be seen as contemporary, complex, and forward-looking, not defined by stereotypes or distant propaganda. 

T&C: What do you want people to take away from UA Art Salon? 

IW: That Ukrainian artists today carry new ideas, new languages, and new ways of seeing. I want to let people know that Ukrainian artists also have new ideas and perspectives. We’re not old school. It just feels different. We have so many stereotypes and propaganda from other countries. That’s why I want to have human connections. With the internet, people tend to generalise everyone within the country, until you start to research and meet real people from that place. Then, you’ll begin to understand that it’s not as it seems. 

Until 15 May, rare.weg remains open — not as a white cube, but as a living space where colour, conversation, and quiet revelation are always welcome. Come with open eyes. Stay as long as the layers ask you to.

The post INNA WEGENER: ART, DUALITY AND THE INNER CHILD appeared first on T&C Magazine.

 

Text: Clara Yip

@phillips

In an art world often preoccupied with the serious and the conceptual, Australian artist CJ Hendry is staging a revolution in pink in her own terms. With her first collectable toy series, juju, she’s not launching just any bag charm—she’s orchestrating a homecoming to the unbridled joy of childhood imagination. At Phillips Hong Kong, her pop-up exhibition transforms the gallery into a tactile daydream, proving that the most sophisticated art might be the kind that invites you to play.

The space is a symphony in a single shade: an all-pink wonderland where giant, stuffed jujus lounge on plush foam flooring like gentle, otherworldly guardians. A maze of canned jujus lines vibrant, supermarket-style shelves, while a 2-metre-tall mascot of the character presides over the scene. The air is sweet with cotton candy, and the experience is less a viewing than an immersion—a deliberate, delightful sensory guardian, friend and charm that speaks directly to nostalgia.

Known for drawings that trick the eye, Hendry has always been an artist of desire and material culture. Here, she simply makes that desire tangible. The juju character itself—a mysterious being with one eye obscured by a flower—becomes a perfect vessel for this dialogue. It invites connection, serving as a quiet muse amid digital noise.

The project masterfully blurs the lines between fine art and collectible culture. The centrepiece juju Edition Sculpture, a handcrafted vinyl piece limited to 100 worldwide, is presented with the gravitas of a museum artefact. Yet, it exists alongside blind-box bag charms and an endless supply of whimsy, challenging the hierarchy of artistic value. It asks a compelling question: Why can’t artistic expression be found in the playful objects we carry with us every day?

More than a launch, jujus are a homecoming for Hendry, whose relationship with Hong Kong deepens with this third major project. It reflects the city’s own vibrant energy—a place where innovative, cutting-edge design and playful fun are not mutually exclusive, but intrinsically linked. By taking art off the walls and placing it into our hands, CJ Hendry doesn’t just offer a new collectible. She offers a reminder that the greatest luxury, and perhaps the most radical artistic statement, is the permission to experience pure, childlike joy, healing the inner child within all of us.

The post THE ART OF PLAY: CJ HENDRY’S JUJU AND THE RETURN TO THE CHILDHOOD appeared first on T&C Magazine.

For the emerging designer, the future of fashion is not just sketched on a page; it is woven into the very fibres they choose. This season, a quiet revolution took root on two global stages, championing a material that acts as both a muse and a manifesto: TENCEL. Beyond its technology, this fibre is becoming a silent collaborator for a new generation, proving that responsible creation and decisions in artistic media are the ultimate form of artistry.

In Hong Kong and London, a shared narrative unfolded, connecting disparate fashion capitals through a common thread. The dialogue, focused on the tangible, tactile experience of clothing, honours both the planet and the person wearing it. Vincent Leung, Head of Global Brand Communication at Lenzing, framed this not as a trend, but as a fundamental shift in perspective, captured in the guiding philosophy: “Nature, Future, Us.”

THE MAGIC OF TENCEL

lies in its ability to translate this philosophy into a physical language designers can speak. For award-winning designer Miu Chau, the fiber’s inherent properties became a central part of her collection’s narrative. Her use of whole-knitted TENCEL Modal enabled her to achieve a “skin-like feeling,” creating garments with seamless fabric transitions. This approach moves beyond mere construction, reimagining the relationship between cloth and the human form, where sustainability is woven directly into the garment’s structural anatomy.

This conversation found a powerful echo in London, where the focus expanded to the dynamic life of clothing. Vincent Leung challenged static perceptions, noting that the true beauty of a design is revealed in motion. “You can see how it’s drapey and flowy in the air,” he observed, highlighting how TENCEL enabled fabrics perform not just for a photograph, but for the living, moving body. This emphasis on functionality and personal well-being re-contextualises sustainability, making it an intimate, daily experience rather than an abstract ideal.

THE GLOBAL THREAD

connecting these events underscores the pivotal movement where emerging designers are no longer working in isolation; instead, they are part of an ecosystem fostered by material innovation. Designers like Margaret Sam of SUM LONDON and Johannes Warnke are utilising TENCEL’S versatility and soft touch, demonstrating that creative ambition and environmental integrity are compatible, and most of all, mutually reinforcing.

By providing a canvas that is inherently biodegradable, sustainable, and functional, TENCEL empowers a vision. It allows designers to build a more responsible future, one where the fabric itself is an active participant in the story, a crucial partner in crafting a world where what we wear truly works with us, and our environment.

LONDON PANEL TALK WITH TENCEL, T&C MAGAZINE AND FLAIR FASHION

The post THE FABRIC OF TOMORROW: TENCEL AS THE DESIGNER’S NEW MUSE appeared first on T&C Magazine.

Stepping into Rothling’s world is a sensory immersion. The air hummed with the energy of a man whose Italian roots infused his work with a passion for la dolce vita, whilst his two decades in Hong Kong have instilled a global, melting-pot perspective. His art—a bold fusion of tufting and splashing techniques—is a direct reflection of his ethos of soulful creation. It is, as he describes it, not pop art, but “a funny, nice, emotional art.” Each piece is a layered dialogue of textures and hues, where meticulously tufted wool forms collide with the wild, liberating chaos of paint thrown onto canvas.

Indubitably, the intention behind this unique method is as layered as the art itself. For Rothling, the process is a form of therapy. “I was not passing a very easy year,” he confesses, alluding to a period bordering on mental health struggles. “Instead of talking to a psychologist or taking antidepressants… I needed to do something for my soul.” The physical act of tufting—drawing a design, choosing the wool, using the gun—is a practice in focused intention. The splashing is its cathartic release, a “very, very relaxing” act of surrender. This combination grounds him, a meditative practice that transforms internal turmoil into external, tangible beauty.

This transformative power of art is the core of his philosophy. Rothling discovered these techniques after moving to Thailand, stumbling upon a studio that housed both splashing and tufting practices. His immediate thought was a transdisciplinary one: “Why don’t I do both together?” resulting in pieces that defy conventional categorisation. He integrates everyday objects—a watch, feathers—into the canvas, creating a whimsical, three-dimensional universe that beckons the viewer to touch, to feel, to reconnect with a sense of wonder. He believes colour is a universal language that “attracts not only children, but also adults,” pulling them into a world of emotional resonance and pure, unadulterated fun.

His advice to aspiring artists is therefore deeply rooted in this journey of self-discovery. “You don’t look at what others do,” he states with conviction. In a world of copy-and-paste, he champions a fierce authenticity. “You need to do what you like… You need to believe in what you do.” The Rosewood event was conceived as a gathering of friends and global toy partners; the now-signature “Art Race” was born organically from the attendees’ desire to own a piece of the joy he had created. The art, initially made for his soul, now connects him to others, with proceeds funding charitable endeavours for shelter dogs and orphanages in Thailand.

Beneath the vibrant surface lies a poignant narrative of legacy and resilience. The event featured a coveted triptych dedicated to Hong Kong, a city he credits for his family’s success. After his father’s passing in 2016, Rothling was thrust into leading the family business, forcing him to “grow up very, very fast.” He speaks of overcoming those who “put stones in your road” with a fiery Italian proverb: “If you put gasoline on the fire, the fire grows more and more.” This tenacity defines him. He is no longer “the son of,” but a man who has forged his own path, on his own terms, using art as both his compass and his fuel.

Michael Rothling’s story is a powerful reminder that the most compelling art does not come from a place of easy comfort, but from the alchemy of struggle, intention, and self-belief. He is not just selling art; he is sharing a methodology for healing, a blueprint for turning pain into a vibrant, textural, and deeply joyful existence. In his hands, a tufting gun and a splash of paint become tools not just of creation, but of transformation.

The post MICHAEL ROTHLING: THE ALCHEMY OF WEAVING ART, JOY, AND SOUL appeared first on T&C Magazine.

The panel, hosted by The Blu Journal and Yun Wellness, supported by lingerie brand Perk by Kate, brought together a convergence of voices like no other, each illuminating a different facet of the same crucial truth. The discussion, moderated by Leanne Blu of the Beyond the Label podcast, moved beyond statistics into the raw, human experiences that bind a community together. There, a triad of distinct yet harmonising perspectives formed the heart of the evening.

Brenda Leung, founder of Zeva Hair Spa, shared how her own journey with cancer twelve years ago directly shaped her business, born from a personal need for solutions during a vulnerable time. Her story was a testament to how profound personal challenges can be alchemised into purpose.

For Valentina Tudose, a therapist and TEDx speaker, her 2016 breast cancer diagnosis became a masterclass in holistic health. While fortunate to not require chemotherapy, she emerged with critical lessons on caring for the body and emotional health, emphasising the interconnectedness of different aspects of our well-being.

Former TV news anchor Keina Chiu offered a perspective that resonated deeply in the Hong Kong context. After her mother’s cancer diagnosis, a routine body check revealed nodules in her own breast—a frighteningly common discovery for women in the city. She pointed to the immense stress of juggling multiple roles and careers as a potential catalyst, making her advocacy for early diagnosis and self-care a personal mission.

The evening, supported by Perk by Kate’s “Love Notes” collection inspired by breast cancer warriors, was a collective affirmation, championing the idea that the most critical promise one can keep is the one with oneself, transforming self-care from an item on a to-do list into the very foundation of a resilient, well-balanced life.

The post SELF-CARE HOUR: WHY PERSONAL WELLNESS IS A LIFELINE, NOT A LUXURY appeared first on T&C Magazine.

A hush falls over the vast hall of the Hong Kong Convention Centre, not with an empty silence, but a focused one, born from the collective attention of visitors faced with the palpable stillness of Fine Art Asia’s art pieces. From October 4th to 7th, this becomes a sanctuary for craftsmanship, where time is not linear, but layered. To celebrate Fine Art Asia’s 20th anniversary, the fair staged a silent dialogue between millennia, and in doing so, asked a question of us all: in our age of the immediate, what endures?

From auction houses to visionary galleries, every piece speaks a language of patience. A contemporary photograph, its erotic forms faded to a ghostly monochrome, fosters a quiet conversation on the distortion of modern romance. It hangs in quiet tension with a traditional Chinese ink painting, where a single, perfectly rendered peony blooms in timeless elegance. Nearby, the grandeur of a metropolitan skyscraper, captured in a monumental print, echoes the ink landscape’s awe, but for a man-made world, translating the silent language art, culture and legacy.

Two decades is a mere blink in the timeline of the artefacts it presents, yet a significant landmark in the life of Hong Kong. The 20th-anniversary edition of Fine Art Asia has matured into a crucial nexus, where the deep-rooted traditions of Asian art engage with a global, contemporary pulse. It proves that the “fine” in its title is not about elitism, but about a quality of attention—a dedication to the crafted, the considered, the soulful.

As the lights dim on the final day, it is clear that Fine Art Asia’s lingering afterimage remains imprinted on the mind’s eye. It’s the memory of a curve on a ceramic vase that felt less like a shape and more like a breath, or the defiant sparkle of a cut crystal that captured a light no algorithm can generate. By sending viewers back into the neon rush of Hong Kong, this exhibition reminds us of the beauty of the handmade, and the timeless value of things that ask you not to scroll, but to stop, and simply see.

The post FINE ART ASIA’S CIXI: A SANCTUARY FOR CRAFTSMANSHIP appeared first on T&C Magazine.

In the world of creative expression, a new medium is never just a product; it’s a provocation, a new language for an ongoing conversation. As Hong Kong’s cityscape skyline hosted The World’s 50 Best Bars, a different kind of debut captured the imagination of the city’s discerning creatives. This wasn’t merely the launch of a spirit, but the introduction of a new voice in the dialogue of taste: Solisca Tequila.

On October 6th, the Japanese-inspired sanctuary of Yume—the premier nightlife destination on Hollywood Road—transformed into a creative nexus for conversations. Throughout the evening, the space hummed with energy as industry insiders, local creatives, and international guests mingled beneath the pulsating beats of the resident DJ. The exclusive launch for Solisca was an exquisitely curated experience, being the first chapter in a story written for those who seek authenticity and connection, savoured in every sip, mirroring the very ethos of Yume: the dreamscape of imagination and transformation.

The launch served as the opening argument for Solisca’s philosophy, a deliberate departure from the conventionally expected. The brand presented itself not as a traditional tequila, but as an evolution of a refined agave spirit—additive-free, rich in narrative, and dedicated to purity of form. Featuring two distinct expressions, the menu showcased the Blanco, with its crisp, clean canvas, yet the true showstopper was the Reposado Cristalino. Its complex layers of an older tequila, whilst retaining a Reposado’s vibrant soul became the talking point of the night, consisting of a spirit aged in American Oak Pipón barrels, yet filtered to clarity. Its beautiful contradiction within a glass challenged conventional classifications in the beverage industry, much like the avant-garde.

Guided by Chief Beverage Officer Elliot Faber, the event was a prelude to Solisca weaving itself into the fabric of the city’s landmark bar week. The conversation moved from Yume to the city’s most acclaimed venues, with guest shifts at Mostly Harmless, Green Door, Lobster Bar, Avoca at the Mondrian Hotel and more throughout the week.

As the city celebrated the world’s best bars and beverages, a nuanced, complex, and utterly sip-worthy proposition had entered the discourse, reminding us that the most exciting creative movements begin with a single, authentic conversation.

The post SOLISCA’S ARRIVAL IN HONG KONG : THE SPIRIT OF A NEW DIALOGUE appeared first on T&C Magazine.

Hong Kong’s culinary scene thrives on collisions – where East meets West, Tradition meets
reinvention, the sizzle of a wok meets the clink of a cocktail glass. On August 14th at
Kinsman, that collision took centre stage as Chef ArChan Chan of Peng Leng Cheng and Ho
Lee Fook stepped behind the bar for the first time, shaking up her debut signature cocktail
alongside a menu of Cantonese bites. The result? A love letter to Hong Kong, served with
equal parts nostalgia and innovation.

The collaboration felt inevitable. As Gavin, co-founder of Kinsman, put it: “We’re close in
concept, but also in distance.” Just a stone’s throw apart on Peel Street, the two spots share
a rhythm – where guests often drift between Peng Leng Cheng’s homey dai pai dong vibes
and Kinsman’s liquid artistry. But more than neighbourhood proximity, it’s a kinship of spirit
and passion. “It’s friendly energy. Very local, and we’re always supporting each other,”
ArChan mused.

For Gavin, the partnership was a long time coming. “ArChan is one of the big champions of
Cantonese cuisine in Hong Kong – and Asia,” he said. “I’m honoured to have her cooking
here tonight.”

Indubitably, the star of the night was ArChan’s AC’s G&T – a manifesto in a glass. “This is
going to be my signature cocktail in 20 minutes,” she laughed, admitting she doesn’t drink
much but adores the simplicity of a G&T. Her twist? A playful nod to initials: gin, green apple
(the “G”), and local sparkling tea (the “T”). “My favourite colour is green,” she added, as the
vibrant pour landed in guests’ hands – a liquid snapshot of her personality: bright, layered,
and unapologetically Hong Kong.

Inspiration came from unexpected places. She cited Liquid Intelligence – “It’s like the Bible”
– as she dives into cocktail science. “Creating something new isn’t about being original. It’s
combining things in ways people don’t expect,” Gavin echoed, a philosophy they both live by.
Of course, the food, too, told stories. ArChan’s oyster omelette-kimchi pancake hybrid was a
culinary passport stamp: “Oyster omelettes are a signature dai pai dong dish, but I used to
cook Korean food. This reflects my journey.” Meanwhile, Gavin embraced his in-between
identity: “Not fully Cantonese, not fully Western – but that’s the strength.”

When asked what drives them, their answers mirrored their styles – ArChan’s grit, and
Gavin’s curiosity. “Do what you love,” ArChan insisted. “Kitchens are hard, hot, and
dangerous. But which job isn’t hard? If you love it, it’s worth it.” Gavin added, “Be a sponge.
Stay curious. Travel, read, absorb. Creativity is remixing what already exists.”
The night wasn’t just a collab – it was a celebration of Hong Kong’s irreverent soul. From
ArChan’s dai pai dong revivalism to Kinsman’s boundary-pushing drinks, the message was
clear: tradition isn’t static, and innovation isn’t rootless. It’s the alchemy of both that keeps
this city – and its vibrant flavours – alive.

As the last sips of AC’s G&T were drained, one thing was certain: some collaborations feel
like business. This one? Just art, and pure chemistry.

The post GIN & WOK: HOW TO HONG KONG MAVERICKS REDEFINE THE HK SOUL appeared first on T&C Magazine.