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​GHOST MOUNTAIN FIELD
鬼山田

@ghostmountainfield

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Born in Hong Kong in 1975, Ghost Mountain Field obtained a Bachelor of Fine Art from Goldsmiths College, University of London, major in Critical Study and Studio, and a Master of Fine Art in Painting and Sculpture, from City and Guilds of London Art School in 2005. He currently works and lives in Hong Kong. 
 
Ghost Mountain Field has participated in gallery and museum shows in Europe and Asia. His mural work and illustration work can be found in public spaces and magazine throughout Hong Kong, Bangkok, Dublin and Vancouver. Among the clients are award winning restaurant Mott 32 and fashion label Blanc de Chine. 

Ghost_Mountain_Field,_Banana_Academy_IV,_Oil_and_acrylic_on_canvas,_76x61cm,_2021[1].jpeg

Ghost Mountain Field, Banana Academy IV, 2020, Oil and acrylic on canvas, 76 x 61 cm

Ghost_Mountain_Field_Eight_Horses_(Race)_2021[1].jpg

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The artist’s unique style is defined by his audacious use of colours and incorporation of mixed media elements. Inspired by his upbringing in colonial Hong Kong, Ghost Mountain Field’s multifaceted practice explores concepts of cultural identity through Cantonese pop culture and social traditions, delving into how they influence cultural taste within the context of contemporary Asia. Working with an array of mediums including oil, pencil and digital media, the artist’s works are often a marriage of Eastern and Western practice.

Ghost Mountain Field, Eight Horses (Race) 八駿圖, 2021, Oil and acrylic on canvas, 91 x 121 cm

Ghost_Mountain_Field,_Let's_Get_Fit,_Let's_Go_Swimming,_每天一起去運動_,_Oil_on_acrylic_on_canvas

Ghost Mountain Field, Let's Get Fit, Let's Go Swimming, 每天一起去運動, 2019, Oil and acrylic on canvas, 70 x 170 cm

Good Weather and Let’s Get Fit, Let’s Go Swimming exemplify Ghost Mountain Field’s ongoing interest in Cantonese pop and design culture. The two pieces are nostalgic homages to the heyday of Cantonese design and advertisement, adopting art styles and typographies commonly found in marketing materials from that time. The decision to adopt visual motifs from colonial Hong Kong is propelled by the artist’s personal upbringing during a time when Hong Kong’s design culture was heavily influenced by the West and Japan. The two works on view can be seen as the artist’s tributes to the shifting landscape of Cantonese visual culture. 

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