In I Dim The Sun So That Dusk Arrives Earlier, Chong engages the notion of ‘pharmaceutical numbness’
through a suite of piezography prints with wilted flowers as its subject matter. The prints manifest an aesthetic
quality that seemingly suggest artificialness via the unique tonal depth of piezography ink. The ink reflects and
diffracts light in very unique ways - creating a sumptuous, velvety quality. Compared to his previous 2018
series - Mud & Mashed Hydrangea Leaves and Salad of Dandelion Greens - the current body of works are
purposefully shrouded in darkness as a conceptual strategy. However, as a sophisticated monochromatic ink,
piezography effectively render darkness as highlights and shadows are greatly expanded, enabling a unique
ability to render smooth tones. From this process, qualities of photography and painting are intertwined,
creating a sense of the surreal and uncertainty for viewers.
Chong titles his works after names of widely consumed antidepressants. For example, Amitriptyline (Elavil),
Desipramine (Norpramin, Pertofrane), Desvenlafaxine (Pristiq & Khedezla), etc. Juxtaposed against his subject
matter, the narrative conjures a notion of fragile peace which is achieved through ‘pharmaceutical numbness’
and, by extension, artificial alienation. In clinical terms, antidepressants are prescribed to patients who
undergo immense psychological pressures and are unable to cope with their emotions. To a certain extent,
the drug improves the patient however, the side effects are costly. Some people are altogether alleviated from
all sense of emotions including basic experiences of joy and sadness. An onset of numbness takes over and
the patient eventually becomes detached from everyone, alienating himself from the world.
The discourse of addiction is another aspect of the series that Chong explores. He anchors his narrative on a
parallel between the human’s mental and emotional health, and one of the planet. Despite the proven
scientific fact that synthetic materials - like plastic - are harmful to the eco-system, human’s folly persists at an
unfathomable level. Similarly, in spite of boycotting harmful pharmaceutical medicine, people convince
themselves that certain medicines - like antibiotics - are not efficient anymore and that stronger doses are
required. Drugs, like plastic, are clearly pervasive as Chong believes. As stated by Chong, “Our life depends on
these medicines, just like the flowers depicted in the series depend on the plastic to protect their fragile petals.” Most
importantly, the exhibition prompts viewers to reflect on the fragility of life and reveals how blissfully
dependent humans are on non-organic and artificial matters.