Social Transformations, Pao Galleries, Hong Kong, 11-28 November 2018


A two panel painting paired with a two channel video. New work in Social Transformations, a group show at the Pao Galleries in Hong Kong.

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Fictive memories aren't not true, 2018, diptych, acrylic on canvas, 153 x 215 cm

Protean dreams, 2018, two channel video, 01:13, 01:56, looped

Pao Galleries Poster

Description of Absence, Jeju City, South Korea, 11 June – 22 July 2018

I have a new work on show at Art Space IAa in Jeju City, South Korea, until 22 July. The show is called Description of Absence and explores the impossibility, or at least the complexity, of the representation of identity. The show includes 20 South Korean artists and 11 from Hong Kong, China, Poland, Portugal, Germany and Turkey.

My piece, Cloaking Device, is the latest iteration in an ongoing series that explores the complexity of dual identity. These artworks consider the body as a repository of meaning, a physical reality forever in the present, remembering and continually in the process of being formed and re-formed; the body as an instrument that writes its own personal narrative.

This work uses images, reworked and reiterated across a range of media to both obscure and open out the possibilities of representation. Calligraphic silhouettes are derived from physical movements and installed larger than life size extending from the wall down onto the floor. The video echoes the forms in endless circular motion without ever repeating them exactly.


Cloaking Device, 2018, video 02:55, felt, overall dimensions variable

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Xi’an Art Museum, China, 16 September – 3 October 2017

My work Choreograph is in the exhibition Silk Road: Portal to World Imagination at Xi'an Art Museum in China. I'm very excited to show the piece in such an amazing space alongside a great line up of artists from around the world.

Xi'an Art Museum is part of a relatively new arts complex built in 2009, home to the Xi'an Symphony Orchestra, Concert Hall, and the Art Museum which focuses on contemporary art.


Choreograph, 2015
felt, 1.78 x 13.4m


Wayang Malam 2, Singapore, 4 August 2017

For one night only, Wayang Malam 2: short films, videos and animations. Very pleased that my short video Through was selected for this open air event in Singapore, using the side of a white truck as the projector screen. After dark moving images... turns out Wayang Malam means nightmare in Malay!

kay beadman art installation video hong kong

Through, 2015

video, 02:44


Enduring Reality Part 3, Hong Kong, 4-26 March 2017

ER3 web

My solo show, Enduring Reality Part 3, was the final part of a trilogy of shows at Hidden Space, Hong Kong. The installation featured felt wall/floor pieces and video.

ER2 web
ER view Web

Man-made by Nature, Hong Kong, 14-15 January 2017

Man-made Talk

My turn to give the artist talk in our four person show, Man-made by Nature at Hong Kong City Hall. The show also featured Katie Ho, Lawrence Lee and Matthew Tsang Man Fu.

Equivalence1 webjpg

Transience 1-12, 2017
inkjet prints, each 80 x 80 cm


IMAF 2016, Serbia, 2-4 September 2016

My Amplification series of photographs was selected for the 2016 edition of IMAF, a multi media installation and performance art festival in Serbia. This series had just been incorporated into the installation, Carapace, on show in Melbourne so these prints are seeing more of the world than me this year!

The Museum of International Connectivity, Australia, 26 April – 20 June 2016


Carapace, 2016, 5 C-type prints each 35 x 35cm, felt, overall dimensions variable

Dirty dozen info

My piece Carapace has been included in The Museum of International Connectivity, a group show curated by Dr. Phil Edwards in The Dirty Dozen space in Melbourne. The show brings together 16 artists from Hong Kong, Thailand, Australia and Korea to explore the themes of identity, locality and temporality.

Carapace is a sequence of five photographs and the husk left behind by a discarded outsize garment.

The Dirty Dozen is an underground exhibition space in Campbell Arcade in Melbourne, part of the maze of laneways with interesting things to discover. If you're in Melbourne before the end of June drop in, or rather drop down.

Crossing Border | Border Crossing, Hong Kong, 1-7 February 2016


Schism, 2016, felt, muslin, 7.82m x 4.21m

Crossing Border Poster

The year started with an international multidisciplinary show in Hong Kong: Crossing Border/Border Crossing

I was given the opportunity to go big and create a site specific work covering three stories of the internal courtyard at JCCAC. The resulting piece is called Schism. The fracture in Schism is actually a hugely magnified version of a video still. It shows the space visible for an instant between a hip and an arm during a choreographed movement while wearing oversized garments that obscure the body's shape.


Enrobed III, 2014, ink on 300 gms paper, 76.2 x 393.5 cm, (186 individual 12.7 x 12.7 cm squares)

Mantle video detail

Mantle, 2014, video, 05:10

Endless singularity3

Endless Singularity 3, 2016, felt, 2.65m x 7.2m

Shenzhen Biennale, China, 14 November – 5 December 2015

Two of my artworks were selected for the inaugural Shenzhen Biennale: Through, a video installation, and Endless Singularity, an ongoing series of site specific pieces made from felt.

kay beadman art installation endless singularity 5duality identity hong kong
2.SZ Biennale