Frenetic City. 2016

To say life moves fast in a city is an understatement.
People go through life in an uncompromising, chaotic pace,
overcoming and absorbing anything in their path.
Time in the city seem to flow quicker, memories in the city
tend to fade away faster.
Nothing seems to stand still in a city.

A UN report suggested that by 2050, the world’s population would reach 10 billion,
with three-quarters of humanity living in our already swelling cities.

Using Hong Kong as a starting point, this project aims to be
a documentation of our increasingly overpopulated world.

Hong Kong was my city of residence from 2014 to 2017.
With a population of over 7 million but less than 25% of its land developed,
it is one of the most densely populated cities in the world.
When I first landed, I was immediately confronted by a society
that is in fierce competition for physical and mental space.

I decided to capture and re-create the tension and chaos
that I experienced in photographic form, using multiple exposures on B&W negatives.

The resulting photograph is not of a singular moment in time,
but a multitude of moments in time captured in a single frame.

Note: The text above was written by the Artist. No modification was made by C.O.C.A.

HanShun Zhou


Born and raised in Singapore, Zhou HanShun is a Photographic Artist, Printmaker and Art Director. After graduating from Nanyang Academy of Fine Arts Singapore and RMIT University, he went on to make a living as an art director, and continues to pursue his passion as a visual storyteller and photographer. He uses photography as a way to explore, investigate and document the culture and people in the cities he lived in. HanShun has exhibited at the Tumbas Cultural Center in Thessaloniki, Greece for Photoeidolo (2017), the Molekyl Gallery in Sweden, for the Malmo Fotobiennal (2017), the Gallery under Theater in Bratislava, Slovakia for The Month of Photography Bratislava(2017), the Czech China Contemporary Museum in Beijing for the SongZhuang International Photo Biennale(2017), th

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