Vroom Vroom encapsulates a driving technique that intricately orchestrates the manipulation of vehicular or mechanical apparatus, deftly navigating the delicate balance between regulated order and spontaneous tumult. In the transitional space of HKAC Diana Cheung Experimental Gallery, Dave Chow revolved around a nuanced interplay of control and chaos as the subject-matter for his first solo exhibition, exploring sculptural language of monumental- sized sculptures made with composite materials, as it pertains to the paradoxical coexistence of speed and power, alongside fragility and peril.

Drawing a parallel to the experience of flying at near-light speeds in the cosmos, as scientists simulate the momentary vistas that swiftly expand and dissolve into an abyss of infinite darkness, the exhibition space, delineated a a dimly lit corridor composed predominantly of rubber materials, sets ablaze by the compelling escape of light from low-intensity reflective surfaces. 

Titled Narcosis, the sinuous arc-shaped rubber installation envelops character-defining triangular structure of the Hong Kong Arts Centre designed by the visionary Tao Ho. With its interventionist motive, the rubber wall creates deliberate hysteresis, evoking the weighty allure of the grand theatreer curtain standing antithetical to minimal and neat geometric design vocabularies of the entire architecture. 

In "Meditations on First Philosophy" (1641) written by Descartes, he contemplated "mind-body dualism" and likened "brain-damaged madmen" to "glass body". The binary work in two sets, respectively titled Premise and Essence, experiment with the material of glass by encasing the former and stretching the latter, challenging the physical durability of industrial glass, in a metaphorical portrayal of the somewhat manic psychological state of people living under the tableau of our times. It correlates with our states of mind being unfazed, as we, through the media, witnessed different manifestations of violence in the quotidian.

The pioneer of the Futurist movement, Filippo Tommaso Marinetti, further shored up, in his novel “'Mafarka the Futurist”’, the biotechnical grafting of human beings with the untamed wilderness inherent in nature through machinery, enabling the “'nature's fragile vessels”' to be recuperated and capable of soaring in the sky. In today's post-human context, the art of biohacking advocates the embrace of limitations of human:- Rick Owens launched a novel series of “'fracture rehabilitation boots”' in his Spring/Summer 2024 menswear show, while the bionics advancement company Open Bionics promotes the brand in tandem with the IPs of superheroes characters, transforming science fiction fantasia into versatile bionic prosthetics that can be modified with interchangeable components. “'Defects”' becomes, paradoxically, a pathway to becoming superhuman. The work, Clutch, resembles a referential approach to protective measures taken in industrial buildings. To prevent heavy vehicles from damaging a building’s façade, steel nails are directly drilled into the concrete to fixate the anti-collision gel. The aesthetic symbol of Clutch lies in the juxtaposition of cicatrices and tenacities, which touches upon biocultural issues spiralling onwards the morphing of the human body in post-humanism. 

The piece, Give Way, fastened with iron straps oft-used in air cargo, wrapped triangular pillars that are placed at the entrance of the exhibition hall to, exactly, and as exactingly, entice interaction with audiences in close proximity. The geometric shape of the pillars originates from the initial project proposal, where the Futurist painter Giacomo Balla intertwined lines to represent the imagery of speeding cars in his paintings. As the exhibition steadily takes shape, rounds of discussions denote an exploration of the integration of exoskeletons in the realm of industrial design, arriving at an imaginary prioritisationprioritization when considering protections for organs.