Peng Kanglong’s Hong Kong exhibition enters its second rotation through November 28: an eleven-metre scroll, silver-foil screen and flower-landscapes

Peng Kanglong’s solo exhibition Losing My Way to Watch the Flowers Bloom at INKstudio in Hong Kong’s Tai Kwun continues through November 28, now in its second rotation, which began on October 22. Nearly 40 works from different periods and scales are presented across two rotations, rather than all being displayed together in one room. An eleven-metre scroll, a silver-foil six-panel screen, flowers and landscapes offer a way to consider how formats change looking. The six works discussed here are selections from the gallery’s overall exhibition list, compared through materials, proportions and brush lines.

An eleven-metre scroll and six-panel screen: two horizontal readings

Roaming No.3 (2025), ink and colour on paper, measures 42 × 1,142 cm: over eleven metres long but only 42 cm high. Dark ink, pale colour and flower-like forms alternate along its length, requiring the eye to travel rather than settle on one centre. Its proportions differ greatly from an image reduced to a thin strip on a phone. The scroll’s dimensions are themselves a condition of reading. First tracing its overall rhythm of density, then returning to branches and rock textures in a particular section, makes roaming an act of looking.

Silver Thunderbolt (2023) changes horizontal reading through ink, silver foil and a six-panel folding screen. The artwork measures 157 × 331 cm; its framed dimensions are separately listed as 175 × 354 × 2 cm. These figures describe different things. Mountains, foliage, waterfall-like pale areas and fine border patterns spread across panels that allow both continuity and pauses. Where a scroll unfolds along a route, the screen makes frames and divisions part of the composition. Material and format affect how landscape becomes spatial.

From blue flowers to dark ink: diptychs and near-square compositions

For colour, start with Night Flowers at Dawn (2022), ink and colour on paper in two panels, each measuring 140 × 83 cm. Blue, white and black-lined flowers occupy a yellow-green ground. Rejuvenation (2024), measuring 80 × 144 cm, turns to blue-green tones, with branches, leaves and flowers dispersed horizontally. Flowers remain recognisable in both, but the spaces between them are not empty backgrounds: layers of brush lines continue through them, giving weight to areas often treated as supporting scenery.

Compare these with Mahler’s Fifth (2024), ink and colour on paper, 120 × 122 cm, and Drawing Out (2025), ink on paper, 120 × 120 cm. Near-square compositions allow dense lines to accumulate in every direction. Drawing Out preserves lighter passages beside dark mountain masses, while Mahler’s Fifth appears to compress branches and textured strokes into a shared rotation. Without naming every shape first, the paths left between black and white are enough to guide the eye.

Second rotation through November 28: visiting INKstudio at Tai Kwun

Peng’s practice began from landscape, and in 2013 he started exploring flowers, bringing fine landscape texture strokes and spatial depth into their treatment. His flower-landscapes therefore concern more than choosing mountains or flowers as subjects: they show how the same brush-and-ink language can alter proportion, density, colour and light. The exhibition’s idea of losing one’s way relates to a process that follows brush and ink without fixing the final image in advance. Comparing different formats reveals that transformation more clearly than simply identifying familiar flowers.

The first rotation ran September 19–October 21, 2026; the second runs October 22–November 28. Works follow the rotation arrangements, so contact the gallery first if you wish to see a particular piece. INKstudio Hong Kong is at Shop 03-104, 1/F, Barrack Block, Tai Kwun, 10 Hollywood Road, Central. Official hours are Tuesday–Sunday, 11:00–19:00. The official exhibition and individual artwork pages list materials, dates and dimensions, helping frame a visit around the different readings offered by scrolls, screens, diptychs and near-square paintings.