Tucked away in Grand Marine Center, an old industrial building on an unassuming street in Tin Wan, the vast exhibition space at Empty Gallery spans two floors and is purposefully plunged into pitch blackness. In direct contrast, the gallery’s fifth floor studio, reserved for artists to create in, is almost drowning in natural light. On a brutally hot July afternoon, sunlight poured into the room over a large wooden table cluttered with an assortment of objects: a vase full of minimally arranged yellow flowers; a wooden skeleton made of bamboo and wire, due to become a lantern; mounds of printed academic texts; and sheets of delicate bamboo paper stuck on to boards, a strip or two of film negatives, handwritten notes,
