ONE THREAD ALL THE WAY
Alfred Cheng and the Metaphysics of Thread
In a cultural landscape defined by visual excess and algorithmic immediacy, Alfred Cheng’s practice emerges as a slow, methodical resistance — not against image, but against disconnection. Working from his Hong Kong studio, Cheng reconfigures the act of mark-making by eliminating the mark altogether. In place of graphite, pigment, or gesture, he offers a single unbroken thread — looped around hundreds of nails — to form portraits and symbolic structures that operate at the intersection of drawing, textile, architecture, and meditation.
Cheng’s work proposes a radical material minimalism: line as form, thread as philosophy. Each piece functions as a spatial score composed through tension, restraint, and control, inviting viewers not only to look, but to inhabit distance — the space between thread and image, form and meaning.
鄭偉浩
Alfred Cheng
Hong Kong
In this rare interview with FVTVRIST, Alfred Cheng reflects on his obsessions, the metaphysics of thread, and how loneliness shapes reliance. He shares his reluctance to chase markets and butterflies, and his quiet rebellion against complexity in pursuit of silence — the kind only art can conjure.
: 'One Thread All the Way' — what does that phrase mean to you?
For me, a thread is not just a tool — it represents boundaries, connections, and separations. It reflects the complex network of relationships in society and invites reflection on identity and power. The phrase 'One Thread All the Way' expresses my desire for uninterrupted thought during creation, allowing the audience to feel a sense of harmony within the final piece.
I want the thread to weave continuously, without interruption, until it’s complete. Even if it moves in the wrong direction, I won’t undo it — I continue from that point. That feels like life. Every choice we make shapes who we are. There is no need for regret; each thread belongs to the path we are building.
: How did your practice begin — and how did thread become your chosen medium?
It’s been a gradual accumulation since childhood. I was always fascinated by black-and-white sketches and the beauty of line. Around 2016, I reignited that curiosity, left my job, and dedicated myself fully to art. I began with pencil drawings, drawn to the purity of line. But I soon realized that if I wanted to grow, I had to find a language uniquely mine.
While traveling in Europe, I stumbled into an old textile shop. Seeing spools of black thread lined up on the shelves, I suddenly saw one as a drawn line — and a new idea took hold. In 2021, after years of experimentation, I finally created a piece I was truly satisfied with.
: Has living in Hong Kong shaped your artistic vision?
Growing up in Hong Kong has influenced how I understand social structures and human relationships — these themes often appear in my work. Emotion is central to what I create. Whether I’m depicting a person or a single flower, I try to perceive the subtle emotional forces they carry. I believe the world is already rich with complexity and purity — my job is not to impose meaning but to reveal what’s already there. I aim to capture beauty and emotional truth as they exist, unfiltered.
: Your recent exhibitions Silent Love and Silent Night seem emotionally charged yet quiet. Why silence?
'The world is already complex enough. I hope to find some silence'.
In this absurd world, purity and silence is a luxury that prompts us to rethink our identity and existence.
'This is a journey of reflection and reformation'.
Silent Night explores how solitude creates space for emotional reliance between people. The question behind the show was: in the quiet of the night, am I thinking of you, or are you thinking of me? That ambiguity — that invisible connection — fascinates me. When we feel loneliness, the need for others intensifies. I often wonder: do I rely on others more, or do others rely on me? That question sits at the center of the work. Mutual dependence is undoubtedly rooted in solitude. When humans feel loneliness, the need for relationships and the sense of reliance become even stronger. This emotional depth can foster more genuine connections in the future. I chose this theme because I often question whether my dependence on others is greater or if others rely on me more. I hope to explore how the priority of reliance between people is defined and arranged.
Emotion is central to what I create. Whether I’m depicting a person or a single flower, I try to perceive the subtle emotional forces they carry.
: How do you see your process of working with thread in relation to life itself?
I began exploring the potential of thread in 2016. Thread can break and reconnect, and when a method fails, I seek new paths. I experimented with different types of threads, and no matter how difficult they were to tame, I never considered giving up. As I spent each day with the thread, I realized it’s like searching for the meaning behind every choice in life. I feel that the person I am today is shaped by every choice I've made in the past. Should I choose option A or B? Gradually, I found this process resembles winding a thread. You can imagine a nail as a choice from my past, and then how I weave and connect it with the thread. Should the thread wrap around the nail from the left or the right? Ultimately, I pulled my work into a path, leading to the birth of each piece, which, in turn, shaped the person I am today.
Each strike of the nail and every tug of the thread injects emotion into the work, materializing it into a tangible form. This interactive process continuously reshapes the value of each other's existence. It is fair and essential. With my past experiments and research, I became increasingly attracted to the purity, simplicity, and infinite possibilities of thread. The most subtle aspect is that they allow me to enter a unique rhythm and meditative state during the creative process. Unlike other media, thread art removes color and focuses only on line, shape, and structure. It forces the viewer to pay attention to form and flow — and to the stories embedded within.
: Many viewers are surprised to learn your works aren’t pencil or digital drawings, but thread. How do you see this moment of realization?
Indeed, my method of creation requires viewing the physical work to fully experience it. The thoughts and tension formed by the thread cannot be felt through a screen. When observing the artwork up close, one cannot see the clear patterns; only by stepping back can the meaning within the work gradually become apparent. This is also what makes my approach appealing, as it embodies a philosophical idea: 'when we are too close to something, we often fail to see the truth. Only by stepping back and looking from a distance can we gain insight into the truth.' It is indeed interesting that many people initially perceive my works as having been created with a pencil. Whenever I see their expressions change as they move from their own inherent perceptions to suddenly embracing a new perspective, those moments are what attract me sometimes.
: Do you believe an artist must suffer or search to create something truly moving?
I believe this is a process that most creators experience. I am convinced that only by forcing oneself to engage with various experiences can one clearly understand what moves them most. Only then can truly great and touching works be created. However, one thing I can be certain of is that I believe simple and direct artistic expression can serve as a powerful weapon against complexity, allowing the human soul to return to a pure state.
: Your piece The Weight of Cigarette No.2 is particularly striking. Can you speak about its meaning?
The work 'The Weight of Cigarette No.2' depicts a child taking a box of cigarettes from their pocket. After a moment of hesitation, they put one in their mouth and inhale, only to then look around anxiously and extinguish the cigarette. I feel the brief emotional shift as they choose to be true to themselves but ultimately succumb to the gaze of the public.
This symbolizes two processes: self-struggle and conformity. Struggle represents the choice of solitude to satisfy oneself, highlighting the importance of desire. Conformity reflects societal expectations, leading to compromise and dependence, further revealing the submissive relationship between the individual and society. This makes me reflect—what determines our status as a so-called 'normal person’?
: You’ve collaborated across disciplines — fashion, luxury, dining. Do you see art and other industries as compatible?
I believe that there has never been an opposition between art and other industries. Art should absolutely—and even must—engage in cross-disciplinary collaboration to bridge the gap with the public, expanding market opportunities and increasing interaction across different fields. Of course, this requires absolute respect and trust from both sides.
These collaborations not only significantly enhance the exposure of artists but also allow artists to create artworks that best align with a brand's philosophy, style, and themes. Through art, they can communicate and collaborate, thereby elevating their brand image. Therefore, I believe that both can complement each other and have a positive influence on one another.
: As your presence grows in Asia and Europe, how do you think about international recognition?
Actually, I don’t actively seek out specific places to hold exhibitions. I only consider them when opportunities arise or when I receive invitations. If it feels suitable, I will think about the theme for my work, but I don’t change my style just to cater to certain places or audiences. If you create with the intention of pleasing the majority of the market, you may end up attracting no one at all. 'Don't try to chase butterflies, instead, cultivate your own unique garden, and the butterflies will come naturally.'
: What’s next for your practice? Do you see yourself expanding beyond two-dimensional threadwork?
Currently, most of my works are primarily two-dimensional, but my goals extend beyond this. I am working on larger experiments, hoping to create more three-dimensional pieces or installation art soon, allowing more people to experience my world in a larger space. I hope that one day I can find the end side of the thread, but I believe life is too short for that to be realized. But It is already enough to have the fortune of intertwining with people I met in my life.
FIN
Interview by Anna Somova //