Hidden in Plein Sight

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Born into a plastic-dominated world, Teetuch Hongkhongkha, like most people of his generation, was surrounded by plastic all his life. Plastic was everywhere: at home, in school, on the streets, in nature. It is used, thrown away, forgotten, yet never really gone. Ubiquitous in modern life, plastic quietly makes up a large part of what we touch, and consume. Even though we know their impact on the environment lasts for decades or even centuries, we continue to rely on them for their light weight, their usefulness, their cost. Plastic, in this way, feels almost natural to our modern experience.

Hidden in Plein Sight is the first solo exhibition by Teetuch Hongkhongkha, who explores the entangled relationship between humans, plastic, and the environment. Through working with various forms of discarded plastic, the artist transforms these materials into novel and vibrant forms, imbued with a sense of vitality that challenges their familiar image as banal, disposable waste. The artist presents plastic as a concealed presence within seemingly pristine landscapes. Through its interactions with other elements in the environment, plastic becomes part of a broader network of relationships that influence how we see, think about, and respond to ecological challenges. Rather than depicting plastic simply as a pollutant, the artist presents it as an active presence within the landscape—that it helps co-construct—through the expression of its forms, colours, and textures. The exhibition encourages a “new way of seeing” that considers not only appearances but also the interconnectedness of things.

For Teetuch, the focus is not only on plastic’s presence but also its role. Drawing on Actor-Network Theory, the artist sees plastic as more than passive waste—an active material that interacts with humans and the environment. Plastic here is approached as a complex, contradictory substance capable of multiple roles. Like people, it is shaped by how it is used, where it appears, and what it connects with. It is not only defined by what it is, but also by what it does. The exhibition title, Hidden in Plein Sight, underscores this idea. By replacing “plain” with “plein”, a nod to plein air painting, the artist alludes to how plastic, like other natural elements, exists openly in the landscape yet often goes unnoticed. Though it becomes part of the scene, shaping it quietly, persistently.

At first glance, Teetuch’s paintings resemble vivid and familiar naturescapes such as mountains, skies, clouds. They shimmer and glow like oil paintings, layered with texture. One large abstract piece, The Ocean Blue, evokes the serene view of a vast ocean. From a distance, it appears calm and expansive, with bright blue hues that feel almost meditative. Upon closer inspection, translucent plastic layers come into view, creating a depth and luminosity that would not be possible with conventional paint. This appealing effect is achievable precisely because of the unique qualities of plastic. Submerged in these silent waves are patches and blotches of plastic debris, some still bearing readable labels hinting at their origin, while others have melted and fused into unrecognizable forms. In the same way that people may not notice litter during a scenic lookout, Teetuch’s works invite a second look, to ask: what are we choosing not to see in the natural world, and why?

The materiality of Teetuch’s artworks brings attention to the subtle weight of everyday choices around plastic. These paintings sit in an ambiguous space: at once beautiful and unsettling. In A Starlit Night, a dark, starry composition recalls the Milky Way. Layers of black trash bags wrap around flickers of colourful plastic bits and foil-lined snack packaging, their reflective surfaces creating a shimmering effect. This is the only work that uses this kind of metalized packaging, chosen for both its material complexity and everyday familiarity. Trash bags—commonly used to contain other plastic waste—are a notable example of plastic’s enduring presence in daily life. While reducing plastic remains crucial, the exhibition urges a more conscious and engaged relationship with disposables. Faced with choices like reusing a shopping bag, buying biodegradable liners, opting for trash bags made from recycled plastic, or settling for cheap low-grade options, the act of throwing away waste becomes more than routine. A Starlit Night echoes this quiet pressure, the tension between intention and convenience, responsibility and access. The artwork reflects how plastic doesn’t just occupy physical space, but influences small daily decisions that ripple through larger systems.

Plastic is part of the system we live in: something we interact with, negotiate with, and make decisions around every day. By using a material often dismissed as waste to depict admired landscapes, the artist highlights the contradictions in our relationship to it. Plastic offers convenience, durability, and affordability, but also brings environmental cost. While we may choose it for practical reasons, or be limited by access and circumstance, each use involves balancing. When we consume, there is a bargain. When we discard, there is a consequence. This constant negotiation is part of an extensive exchange: between benefit and disadvantage, intention and impact. Recognising this process helps us make more thoughtful choices and better understand the decisions of others, contributing to a more inclusive and realistic path toward sustainability.

Hidden in Plein Sight invites a more conscious interaction between consumers and the materials they consume. By confronting our assumptions and rethinking the nature of our relationships—with plastic, with nature, with consumption—we begin to see the negotiation involved in every act of use or disposal. This exhibition proposes a shift in perception, toward a view that is slower, more curious, and more complex. It is not a defense of plastic, but an invitation to re-engage with it. To see not only what is hidden, but what we choose not to see.