Cheung’s recent work has explored the seventeenth-century “Tulipomania,” during which tulips became a trade commodity and sold for astronomical prices among Dutch investors before the market collapsed in 1637. Cheung plays on the Dutch tradition of still-life painting by basing his prints on digital images of old master paintings in the Rijksmuseum. He manipulates these images with an algorithm that distorts and corrupts them to highlight the artificiality of the original paintings. Gallery label for Love, Life, Death, and Desire: An Installation of the Center's Collections (Yale Center for British Art, 2020-11-01 – 2021-02-28)
