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It’s Hong Kong Arts Month this March, and the city is a hive of activity as I arrive; a giant floating Kaws sculpture, Companion, in Victoria Harbour here, a street art festival there, reaching a crescendo with the annual Art Basel Hong Kong, which highlights the works of artists from all over the world. It is here that I find myself wandering around the Collectors Lounge, where only the most exclusive heritage brands display their exhibits, all in a commitment to excellence and the arts.

The doors have not yet opened to the public, and the La Prairie Pavilion is already teeming with stylish guests, from style influencer Yoyo Cao to South Korean actors Jung Woo-sung and Lee Jung-jae, amid bursts of Insta-shots and polite fans, all here to peruse the work of Korean light artist Chul-Hyun Ahn. Much like a moth to a flame, I, too, find myself drawn to Chul-Hyun’s main hypnotic sculpture, which at first glance, appears to be a light installation of circular LED rings, aptly called Transparency. Emitting a soft blue-tinged glow, the lights have a surprisingly meditative effect, quieting the cacophony of Hong Kong’s art world around me, tempting the viewer to step into this other dimension, rings of lights illuminating the way to an unseen destination—a feeling of solitude, but one with forward movement.

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“Infinite space,” Chul-Hyun tells me, “especially, when you’re standing in front of it, it moves the spirit. At one point you can see your eyes staring back at you, and you realise that you are standing alone, but slowly, you start to see the other person next to you. To me, that is what it means to be human. We live in this world together, but everybody has their own path and you just keep going.”

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Korean light artist Chul-Hyun Ahn challenges the viewer to look deeply into the frame of their environment

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