Of the younger generation of “part-time” artists in Macao, Tong Chong is unquestionably the most productive. Despite his busy working schedule, he insists on creating works in addition to taking care of his family, neither of which can be achieved without his persistent efforts. Following Back & Forth – Works by Tong Chong organised by Art for All (AFA) in early 2008, his forthcoming exhibition is another solo exhibition showcasing 12 paintings and two wood sculptures created by Tong Chong during the past two years.
 
I am really grateful to have such an opportunity to once again organise Tong’s exhibition. Curiosity urges me to take a look at his new works and compare them with those of two years ago. Obviously, the very style of his creation is retained while maturing; by comparison, his new works project a stronger, more ‘refined taste’. From the heavy use of ‘symbols’ to the simple yet affirmative composition, one can readily sense a great leap in the rendering of his personal style and creativity. The rustic, simplistic characteristics of his paintings externally integrate elements of calligraphy and folk arts, while internally reflecting his personal thinking and perception of creativity. He seeks to reflect his personal understanding of his living surroundings through his works.
 
Tong Chong once said that his works attempted to express his exploration of social culture and human existence in recent years, returning to the intrinsic quality of human nature, and human roles in contemporary society, including perspectives on sex, the human being, society, and ancestral heritage. In a strict sense, this is not merely an artistic pursuit of creativity but a target for personal growth and development. To cultivate such a sentiment and vision is never to be solely dependent upon reading or painting but involves many personal experiences of the artist and active participation in society. Hence, time and opportunity play a crucial role. Gaining perception from life and rendering it in his works through persistent effort are often the lifelong pursuit of an artist.
 
In contrast to the Chinese saying ‘The lovable isn't believable, and the believable isn't lovable,’ Tong Chong’s new works are both lovable and believable, from which one can seemingly feel that the artist has found the shady tree in the hot sun but is discontented staying under the shade without the breeze. Such restlessness turns into an artist’s motivation for seeking growth. This is exactly the absent quality in local art circles. As trees can be planted while wind cannot be summoned, I sincerely hope that the soil of local arts will become more fertile, whereby talented young artists like Tong Chong can have more opportunities to bring their talent into full play, rather than sitting under the tree doing nothing. One day, they will not bemoan their fate but look forward to seeing a fertile soil for artists.