The conflict between one’s intuitive desires and pursuit of an ideal life seems to be the main theme that runs through Cheung’s oeuvre. In the work [Corner] (1994), the wiry man lies on his side, and his hands seem to be tied behind his back. However, there’s no clue as to who and what bind him. Perhaps he is tied by the two traditions of the Occident (frame) and China (scroll), or by the reddish-brown liquid (the potion of oblivion) in the porcelain bowl in the foreground. Cheung always leaves many symbols that invite the viewer’s free associations and imaginative answers.