“I’m curious all the time,” says King. In a recent conversation with American artist Clinton King, revealed his insatiable desire for exploration and discovery. Known for his diverse artistic practices spanning painting, sculpture, and video, he is a curious soul armed with enthusiasm for the boundless possibilities that lie within the realm of creating on flat surfaces.

He quotes Friedrich Nietzche’s, “We have art in order not to die of the truth,” highlighting his belief that art serves as an extension of our realities. Examining King’s extensive body of work, transformation emerges as his preferred medium. His paintings encompass a diverse range of imagery, simultaneously open and uniquely singular in their expression. King’s artistic approach embraces a minimalist philosophy, yet yields elaborate and maximalist effects.

Despite not being King’s first visit to Hong Kong, it marked a significant milestone as he showcased his first solo exhibition in the city at WOAW Gallery. Titled “Moonshine,” this exhibition presented a captivating collection of King’s latest oil paintings, where each artwork reflected his unwavering commitment to openly explore and discover his artistic practice. With every brushstroke, he skillfully constructs intricate patterns that pulsate with vibrant energy and emotion.

As we delve into King’s psyche, we peer beyond the canvases to uncover the essence of his inspiration and creative process.

How does it feel to be back in Hong Kong for your solo exhibition at WOAW Gallery?

I’ve noticed that the city is a lot busier than when I was here just five months ago. And there are a lot more tourists here right now. But I didn’t know what to expect, to be honest. I have many friends who are here now, but I haven’t even seen them because everyone’s so busy. Plus, there are so many openings! I was at first worried that I was going to be sidelined or something. But in fact, my gallery opening was one of the best openings I’ve ever had. And I enjoyed it so much. I’m very impressed with it and with the amount of people who came in, and the gallery really pulled through. I’m very familiar with art fairs. I’ve been to all over the world on these, but I just feel at home in Hong Kong. I feel at ease here. I feel great being here and it’s not as intimidating as I thought it was going to be.

How do you feel before a new opening and what was the opening of your latest exhibition “Moonshine” like?

I usually get pretty stressed out, to be honest. There’s some anxiety, but there’s also some excitement there, of course. There’s always a bit of a nervous feeling about how the exhibition will be received, or if anyone will show up. That’s always the worst thing that could possibly happen. But I’m always impressed with the genuine responses that people have and I’m also very interested in hearing them from people who are not familiar with artwork, who sometimes kind of wander into the space. Just like the other day, they asked me some of the most interesting questions that the average person doesn’t ask. And I find those questions to be not only curious but also enlightening. The questions that are asked and the references that are made here are at times different than in other places. For instance, somebody had brought up the idea of the mark in my works, such as calligraphy or writing. I’d thought of that in the past, but I’d kind of forgotten about it. In the West, you wouldn’t expect these references because we don’t have that history of what a bold single stroke could mean or the history of linear language and writing, which has a much different meaning and history in Asia and is more based in abstract expressionism than in the West.

You’ve held exhibitions across Asia. What do you think about the growing interest in art in the region?

Arts in Asia is really coming up. And I think a lot of that interest in art, mostly among the general public, has a lot to do with the graphic street art culture that was a first introduction to a lot of people. I think that flat, graphic, bold colours and bold movement seem to be a trend that I’m seeing. So I feel like the work is read differently here and people are seeing it differently too. That cultural background results in seeing and interpreting things differently and I find that to be the most interesting. 

How would you describe your practice?

If I were to go into the idea of openness, the work itself is very open, and my practice is also very open. And that’s key to me; that the work isn’t trying to be anything other than what it is. It leaves anyone in any culture and country, from any age to come and experience the work. There is no theory or particular idea that I’m trying to get across. I am trying to actually be the exact opposite of what this movement is and to be as open as possible.

Where does that come from and what does it mean to you?

Whenever I’m making a painting, sculpture, or video, I see it as a relationship. I am not here to illustrate a concept outside of an open relationship. I ask the work to meet me halfway. I make a move and I ask, “What does it need, what does it want?” If I try to impose my will on it too much, the marks feel constricted. But instead, I ask, “What does the painting want?” The painting is much smarter than I am. It knows what it wants to become.  I didn’t know to what extent I was working like that until I developed my practice enough to understand that it’s not will pushing me from behind to create a particular type of art or painting. I put the painting in front of me and it pulls me forward. The painting has to be beyond me.