Through a combination of
photography, videography, and maps painted on tarpaulin, Chong appropriates the
visual grammar of traditional cartography in combination with new mediums and disjunctures
to challenge the historical enrolment of mapping as an instrument of division.

In pursuit of these transgressive
boundaries, Chong’s critical re-examination of the map involves the performance
of the ‘third space’, or what Edward Soja (1996) theorised as a space
“radically open to additional otherness”, with its suggestion of a suspended
situation and sense of place that is yet to be included in official discourse.
The third space is imagined here as a video piece in which the tarpaulin maps
become actors in unknown spaces traversed by the artist. These are non-places
that are metaphorically familiar but, crucially, ambiguous and unnamed by the
artist. These neglected locations - landscapes of car parks, balconies, a
seashore - elude preconception and assumption, and are made meaningful instead
for their in-between-ness.