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Few contemporary artists dissolve the boundaries between sculpture, philosophy and craftsmanship as seamlessly as Wallace Chan. In his latest exhibition, the Hong Kong visionary presents monumental works that explore birth, life and rebirth, inviting audiences to contemplate humanity’s shared existence through extraordinary titanium creations spanning two of the world’s great cultural capitals.
This summer, Wallace Chan unveils one of the most ambitious exhibitions of his career with Vessels of Other Worlds, a dual-city presentation staged simultaneously at Pietà Chapel in Venice and Long Museum in Shanghai.
Rather than simply exhibiting sculptures, Chan creates a dialogue between continents. Through a live transmission connecting both venues, visitors experience two exhibitions existing in parallel—an artistic portal linking East and West while exploring themes of spirituality, time and human existence.
Monumental Works Inspired by Universal Symbols
At the heart of the exhibition are three monumental vessel-shaped sculptures constructed from more than 5,500 individually crafted titanium components assembled using 22,000 precision screws.
The installations in Shanghai rise to nearly 10 metres in height, while their counterparts in Venice establish an intimate conversation within the historic surroundings of the Pietà Chapel.
The vessels represent three universal stages of existence:
- Birth
- Growth
- Rebirth
Rather than focusing on a single religion, Chan draws inspiration from symbols shared across cultures, creating works that speak to humanity’s common search for meaning.
Beyond Religious Boundaries
Chan’s inspiration emerged while studying centuries-old carvings inside a Venetian church, where he recognised symbols that transcended Christianity.
Oil vessels, bells and sacred objects appear throughout both Eastern and Western traditions, becoming the foundation for sculptures intended to communicate beyond language or belief.
Bells form the defining silhouette of each vessel.
Whether heard in churches, temples or schools, they serve the same purpose: calling people to attention.
For Chan, they become a universal symbol that momentarily unites humanity.
A Celebration of Life Rather Than Death
Throughout the exhibition, clocks, zodiac symbols, lotus flowers and serene human faces weave together into a visual meditation on time and transformation.
Western Zodiac signs intertwine with the Chinese Zodiac in DNA-like formations, suggesting that cultures often viewed as separate share deeper connections than many imagine.
Death is not portrayed as an ending.
Instead, Chan presents it as another stage of transformation.
His sculptures celebrate the idea that energy is never destroyed—only changed—making rebirth not a conclusion but a continuation.
Titanium as the Medium of Eternity
The exhibition also reflects Chan’s remarkable technical innovation.
After dedicating eight years to studying titanium, the artist pioneered techniques that transformed one of the world’s most demanding industrial materials into an expressive artistic medium.
The choice was deliberate.
Titanium is exceptionally light yet incredibly strong. It is used in medical implants because of its compatibility with the human body and in aerospace engineering for its extraordinary durability.
Its resilience mirrors Chan’s own artistic philosophy.
With a melting point exceeding 1,700°C, titanium withstands extreme conditions, allowing the sculptures to endure for generations.
For Chan, the material represents permanence—a way of leaving behind works that may continue to inspire audiences centuries into the future.
Where Contemporary Art Meets the Sacred
Vessels of Other Worlds challenges conventional perceptions of Buddhist-inspired art.
While Buddhism is often associated with simplicity and restraint, Chan embraces richness, intricate craftsmanship and monumental scale, demonstrating that spirituality can also be expressed through splendour.
By bringing together Eastern philosophy, Western iconography, cutting-edge engineering and contemporary sculpture, Wallace Chan has created more than an exhibition.
He has created an invitation to reflect on humanity’s shared origins, the passage of time and the invisible connections that unite cultures across the world.
In doing so, Vessels of Other Worlds becomes not only one of this summer’s most compelling art exhibitions but also a powerful reminder that great art has the ability to transcend geography, religion and language.
