Matthew Wong’s Life in Light and Shadow | The New Yorker

The canvases quickly piled up. When the piles overwhelmed his space, he moved paintings into the director’s studio—or he moved, to work in someone else’s space. In 2015, he noted, “There must be over a thousand works of mine in both Hong Kong and Zhongshan combined.” He knew that painting had become a compulsion. “Is there something wrong with working as much as I am?” he asked Shear. “Sometimes, I feel guilty. But I can’t stop.”