Wong Ping was born in Hong Kong in 1984 and obtained his BA from Curtin University, Perth, Australia, in 2005. Emerging from the underground cultural scene in Hong Kong, he took an unconventional path to art making, starting his career in broadcasting before founding Wong Ping Animation Lab in 2014. Repressed obsessions and unfulfilled desires; emasculation and submission before sexual and political dominance; lust and slippery morals: These are the themes that run through the strange and intimate stories told in Wong’s animation videos. Skirting the line between shock and humor, the artist relates his observations of contemporary society through invented anecdotes that allow glimpses into the deepest—often shameful— traits of human nature. In Stop Peeping (2014), a young man’s obsession with a female neighbor he observes through a peephole compels him to collect her sweat to make a Popsicle for his own consumption. Jungle of Desire (2015) is a tale of an impotent man incapable of sexually fulfilling his wife; she ultimately turns to at-home prostitution and is extorted by a cop. Throughout, Wong’s neon-hued, lo-fi, retro-pop visual language offsets the uncomfortable undertones of these narratives. In some cases, Wong creates colorful installations that extend the animation world of his videos into three dimensions. When Jungle of Desire was exhibited at the nonprofit art space Things That Can Happen in Hong Kong in 2015, Wong was inspired by the gallery’s surroundings in Sham Shui Po, a working-class neighborhood in Kowloon that is also known as the center of the local sex industry, to create an actual jungle of desire. He filled the space with maneki neko cat figurines—the Japanese good-luck charms often seen in Chinese restaurants—but reworked their swinging arms to resemble penises in addition to transparent sculptures of headless, naked female bodies with their sexual organs illuminated from within using neon lights. The provocative setup reflected tensions over gentrification in Sham Shui Po while also using images of masculinity to expose the dark underside of power and its abuse. In Dear, Can I give you a hand? (2018), Wong addresses intergenerational tensions caused by the relentless pace of the digital economy. Commissioned by the Solomon R. Guggenheim Museum, Wong created a viewing screen in the form of a wall of LED monitors, a first for the artist, and filled the space around it with kitsch wind-up denture toys with chattering gold teeth. Wong has had solo exhibitions at venues including Things That Can Happen, Hong Kong (2015). His work has been featured in select group exhibitions such as Mobile M+: Moving Images, M+, Hong Kong (2015); Essential Matters, Borusan Contemporary, Istanbul (2015); RareKind China, Centre for Chinese Contemporary Art, Manchester (2016); XO State Dark: Aristophanes, Arts Centre Melbourne (2017); New Museum Triennial, New York (2018); and One Hand Clapping, Solomon R. Guggenheim Museum, New York (2018). His films have been featured in screening events including the London International Animation Festival, Melbourne International Animation Festival, and Cannes Lions International Festival of Creativity (all 2013). Wong was the recipient of the Incubator for Film and Visual Media in Asia Gold Award (2013) and the Best Animation and Spirit of Hong Kong awards from the Third Culture Film Festival, Hong Kong (2017).