- Following 3.4K
- Followers 31K
- Engagement 1.85%
- Avg likes 529
- Avg comments 37
About Peter Hong-Tsun Chan 陳康俊
Peter Hong-Tsun Chan 陳康俊 (@peterchanart) is an Artist creator on Instagram, also filed under Art & DIY. The account has 31,037 followers and 127 published posts. Recent posts average 529 likes and 37 comments, an engagement rate of 1.85%.
With 31K followers, Peter Hong-Tsun Chan 陳康俊 is a micro creator by the common 10,000 to 100,000 definition. Peter Hong-Tsun Chan 陳康俊 follows 3,351 accounts, so the audience is roughly 9.3 times the size of the list followed. Peter Hong-Tsun Chan 陳康俊 uses an Instagram professional account. Flinque files Peter Hong-Tsun Chan 陳康俊 under Artist, with Art & DIY as a secondary category.
The Instagram bio for Peter Hong-Tsun Chan 陳康俊 runs to 13 words across 2 lines. The bio mentions @fondazione_maddalenadigiacomo and @thehereandthereco. The latest activity Flinque has on record for Peter Hong-Tsun Chan 陳康俊 dates from July 2024.
Story Highlights
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127 Posts
All 10 recent posts Flinque holds for Peter Hong-Tsun Chan 陳康俊 are carousels. 127 published posts give Peter Hong-Tsun Chan 陳康俊 a moderate archive on Instagram. Against the audience, that is roughly 244 followers for each post published. Peter Hong-Tsun Chan 陳康俊 also keeps 6 story highlights on the profile. All 10 carry captions, averaging 162 words each. The captions are written mainly in English. Words that recur across them include kong, work, world, through and canvas. The captions tag #giorgioarmani, #hashtaglegend, #taihangarthouse, #contemporaryart and #peterchanart.
24’’ x 30’’ (61 x 76cm)
Oil on canvas
2026
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A much overdue post from art week Hong Kong in March. Work exhibited at with
“The Empress of Incongruity” is a provocative dialogue between the somber moralism of the 17th-century Dutch Golden Age and the defiant, kitsch-glamour of 19th-century Hong Kong cinema. By placing a vintage television at the heart of a traditional Vanitas, surrounded by the symbolism of the pomegranate and the hourglass.
The central figure, immortalized in a moment of cinematic absurdity, reclaims the lobster not as a culinary object of wealth, but as a subversion of fashion itself. In this space, the traditional symbols of female domesticity and education are upended; the book and the hourglass no longer merely signal the flight of youth, but serve as a foundation for a woman who chooses to wear what she wants, when she wants. This painting is a celebration of the “sophisticated incongruity” of middle age—a stage of life where knowledge and power allow one to finally rule over their own aesthetic world with wit and absolute autonomy.
curated by and informed by the work of scent historian, with the support of IFF. Directed by Bernardo Fleming.
Opening on May 21, 2026, the Fondazione Maddalena Di Giacomo inaugurates its programme with ‘La Nota Mancante’, an exhibition conceived as a meditation on memory and on the subtle sensory traces through which memory continues to inhabit the present.
From the press release:
Memory rarely survives as a complete image; rather, it returns in fragments through atmospheres, sensations, and fleeting impressions that resist language. A scent remembered but impossible to name, a sound that lingers in the mind, the emotional residue of a gesture or a face: La Nota Mancante begins from this condition, from the awareness that what is missing often resonates more deeply than what is fully present.
Since the earliest civilizations, art has offered humanity a subtle passage beyond the visible world, a kind of secret threshold, not unlike the elusive elixirs once pursued by alchemists. Through it, we momentarily step outside the confines of ordinary perception and enter a dimension where memory, imagination, and sensation intertwine, where absence itself may acquire form and resonance. In this sense, art is never merely ornament or diversion; it is a quiet companion in the human search for meaning, a balm for the restless spirit, and an invitation to cultivate a deeper attentiveness to the invisible textures of experience.
‘La Nota Mancante’ will open on May 21st and runs until November 21st.
Study for The Calculus of Blessings
Oil on panel
12’’ x 12’’ (30.5 x 30.5cm)
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From the press release:
Throughout history, artists have played a key role in redefining play as a powerful tool for experimentation, critique, and new ways of seeing the world. Play challenges boundaries, questions authority, and inspires alternative possibilities, often serving as a subtle form of protest.
In State of Play, fourteen artists were invited to explore two questions: How do you find and create joy through play in your daily life? And how does that sense of play manifest in your practice?
These artists approach play from various vantage points: weaving through repetition and pattern, playing with the tension between order and improvisation, or allowing a work to unfold beyond original intention. Across these practices, play becomes a way of moving through uncertainty, remaining open, attentive, and receptive to moments of mutual discovery and joy that emerge through the act of creating.
Featuring works by:
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Many thanks to
Study for Tales of Good Fortune
Oil on linen
46 x 38cm / 18’’ x 15’’
Styled by:
#GiorgioArmani
#hashtaglegend
📸
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This work serves as a complex symbolic map where the auspicious imagery of East Asian tradition converges with the somber, shadow-heavy language of the Dutch Golden Age. Here, the stilleven (still life) tradition is more than an exercise in form; it is a vehicle for cultural voyeurism and an exploration of the “lucky” object.
The composition is anchored by a cornucopia of symbolic flora, fruits synonymous with wealth rendered with meticulous precision. However, this classical arrangement is disrupted by a vintage television. This glowing aperture acts as a “window within a window,” a recurring trope in my practice that positions the viewer as an interloper peeking into a private world.
On the screen, a family Mahjong game unfolds. The scene captures the dual nature of gambling in the Cantonese consciousness: a transgressive act of risk-taking intertwined with a sacred pursuit of familial fortune.
Welcome to the hood 🐎✨
The work will first be exhibited in Toronto and then travelling to Hong Kong at
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Lunar New Year Pop-Up Preview
Presented by the Hong Kong Tourism Board
February 17-22, 2026
Mon-Sat 6pm-2am, Sun 8pm-2am
1468 Dundas Street West
Toronto, ON M6J 1Y6, Canada
#taihangarthouse #contemporaryart #PeterChanArt #hongkongartweek #taihang
This year went by but I feel like 3 years went by because so much happened.
Thank you everyone who made this year special, it was one for the books. Excited to look ahead into what 2026 brings. 🙏🏼
Special thanks to all the wonderful people, gallerists, collectors, artists, and advisors who continue to support each other’s projects.
HNY ✨🎉 🥂
Thank you and
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This series of small-scale, intimate paintings explores the multifaceted world of games of chance through the cultural semiotics of gambling. These paintings juxtapose the archetypal nature of chance with its localized expressions, focusing on games particularly to the social fabric of Hong Kong and Macau. Iconography from baccarat, lottery, horse racing, poker, mahjong, and Sic Bo serves as a visual vocabulary to explore our universal engagement with luck and probability.
Facets of Chance 1
7’’ x 5.5’’ / 18 x 14cm
Oil on panel
Facets of Chance 2
7’’ x 5.5’’ / 18 x 14cm
Oil on panel
Facets of Chance 3
7’’ x 5.5’’ / 18 x 14cm
Oil on panel
Facets of Chance 4
7’’ x 5.5’’ / 18 x 14cm
Oil on panel
Facets of Chance 5
7’’ x 5.5’’ / 18 x 14cm
Oil on panel
Facets of Chance 6
7’’ x 5.5’’ / 18 x 14cm
Oil on panel
Facets of Chance 7
7’’ x 5.5’’ / 18 x 14cm
Oil on panel
Facets of Chance 8
7’’ x 5.5’’ / 18 x 14cm
Oil on panel
All-in on Brunch
60’’ x 48’’
Acrylic and oil on canvas
The Feast of Hoo Hey How (Fish Shrimp Crab)
60’’ x 48’’
Acrylic and oil on canvas
Final days to see ‘𝚃𝚎𝚊𝚌𝚑 𝙼𝚎 𝙷𝚘𝚠 𝚝𝚘 𝙵𝚒𝚜𝚑' organised by at Hong Kong.
Thank you everyone who already visited the show this summer, show closes this Friday, August 30th.
Art Intelligence Global
Suite A, 1st Floor TS Tower
43 Heung Yip Road
Wong Chuk Hang, Hong Kong
11am - 6pm
60’’ x 48’’ / 152 x 122cm
Acrylic and Oil on Canvas
2024
‘𝚃𝚎𝚊𝚌𝚑 𝙼𝚎 𝙷𝚘𝚠 𝚝𝚘 𝙵𝚒𝚜𝚑', presented by and continues in Hong Kong until August 30, 2024
Text via:
For generations, the nexus between food and identity within the Asian diaspora was a relationship cultivated through sustained exigency. Culinary rituals, carefully repeated, preserved and passed on, were vital for sustenance and survival, continuity and community-critical lifelines tethering immigrants to the past, to the ancestral homelands they left behind, while affirming identity, belonging, and security in the present. How is this nexus shifting for newer generations navigating their diasporic identities against hyper-globalization, neo-colonialism, and the hybridization, commodification, and cannibalization of cultural practices? As disparate cultures continue to coalesce, intermingle, evolve, or even dissipate, how are we to understand notions of authenticity, tradition, and heritage?
Slide 10: Show image by
Special thank you and grateful to and all who made this show possible.
All-in on Brunch
Acrylic and oil on canvas
60’’ x 48’’ / 152 x 122cm
2024
This piece was quite a challenging work to make due to the sophisticated nature of the Dutch still-life as early compositional inspiration. The painting itself was created by starting the painting in Canada and finishing the painting in Hong Kong.
The painting reflects the hybridity of east and west, reflected in the mix of items within different parts of this work - the movie posters, the high tea display of dim sum, and popularity (and the duality of potential) in the game of poker, and the origins of the word ‘brunch’.
Together, this forms a type of truth in the history of culture, in particular to Hong Kong and it’s origins. Items in the painting brings on associations, similarities, and differences to both the east and the west.
Art Intelligence Global
Suite A, 1st Floor TS Tower
43 Heung Yip Road
Wong Chuk Hang, Hong Kong
Show opens July 4th and will be on view until August 30th.
Elizabeth Atterbury
Peter Hong-Tsun Chan
Hyegyeong Choi
Dominique Fung
Kyoko Hamaguchi
Sally J. Han
Olivia Jia
Cindy Ji Hye Kim
Ji Woo Kim
Mike Lee
Zoé Blue M.
Stephanie H. Shih
Miko Veldkamp
Lily Wong
Miyeon Yi
Yesiyu Zhao
Gongmo Zhou
Thumbnails are unavailable for 10 of these 10 posts. Open a tile to view the post on Instagram.
Peter Hong-Tsun Chan 陳康俊's engagement
Peter Hong-Tsun Chan 陳康俊's engagement rate on Instagram is 1.85%, between 1% and 3%, or 1 to 3 likes and comments per 100 followers. On a typical post that comes to about 1 like or comment for every 54 followers. An average post collects 529 likes and 37 comments, close to 14 likes for each comment.
Engagement rate
1.85%
- Avg likes
- 529
- Avg comments
- 37
- Interactions : followers
- 1 : 54
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Who is Peter Hong-Tsun Chan 陳康俊?
Peter Hong-Tsun Chan 陳康俊 (@peterchanart) is an Artist creator on Instagram, also filed under Art & DIY. Peter Hong-Tsun Chan 陳康俊 uses an Instagram professional account. The Instagram bio for Peter Hong-Tsun Chan 陳康俊 runs to 13 words across 2 lines.
How many followers does Peter Hong-Tsun Chan 陳康俊 have?
Peter Hong-Tsun Chan 陳康俊 has 31,037 followers on Instagram (31K). Peter Hong-Tsun Chan 陳康俊 follows 3,351 accounts, so the audience is roughly 9.3 times the size of the list followed. 127 published posts give Peter Hong-Tsun Chan 陳康俊 a moderate archive on Instagram.
What is Peter Hong-Tsun Chan 陳康俊's engagement rate?
Peter Hong-Tsun Chan 陳康俊's engagement rate on Instagram is 1.85%, between 1% and 3%, or 1 to 3 likes and comments per 100 followers. On a typical post that comes to about 1 like or comment for every 54 followers. An average post collects 529 likes and 37 comments, close to 14 likes for each comment.
What does Peter Hong-Tsun Chan 陳康俊 post about on Instagram?
Flinque files Peter Hong-Tsun Chan 陳康俊 under Artist, with Art & DIY as a secondary category. All 10 recent posts Flinque holds for Peter Hong-Tsun Chan 陳康俊 are carousels. The 10 recent Instagram captions Flinque holds for Peter Hong-Tsun Chan 陳康俊 repeatedly use the words kong, work, world, through and canvas. Peter Hong-Tsun Chan 陳康俊's captions carry hashtags such as #giorgioarmani, #hashtaglegend and #taihangarthouse. Peter Hong-Tsun Chan 陳康俊 writes those captions mainly in English. Peter Hong-Tsun Chan 陳康俊 keeps 6 story highlights, which open with a free Flinque account.
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