French-born Charles Munka’s latest paintings are littered with references to different places, tracing and encircling the islands of his former home of Hong Kong, as well as Japan, specifically Sado, where he now lives and works. The typographic joy of old stationery and out-of-date packaging found in urban and rural stationery stores fill Munka’s works with a strange nostalgia; and much like the act of writing, his paintings employ
