How much of what we believe to be our own desires was placed there by someone else?

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Through a panoramic photograph of Monument Valley fragmented into eight individual works, The Freedom We Were Sold returns to a landscape that has long existed beyond the land itself.

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For decades, this landscape appeared across advertisements, magazines, television screens, and cinema. It became a symbol of freedom, independence, and the life people imagined for themselves. One of its most recognisable expressions is the Marlboro campaign, which transformed the American West into an image recognised around the world.

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But what did the audience really see within that image?

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A cigarette?

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A cowboy?

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Or a version of themselves?

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The Freedom We Were Sold considers how images become symbols, how symbols become desires, and how certain ideas become so familiar that we begin to mistake them for our own.

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— COTH x Ssamssik

Rich in What Matters presents a series of photographs taken in local barbershops across Cuba — spaces often read through lack: worn interiors, modest conditions, limited resources.
But the images refuse that reading.

People appear at ease. Their expressions are unguarded, their smiles natural and unforced.

A haircut becomes more than a service; it is time shared, conversations unfolding, and trust built quietly between people.

In contrast to a world increasingly measured by speed, progress, and accumulation, these moments point to something else — a way of living that does not depend on how much one has.

The exhibition does not ask what is missing, but what is already present, shifting how “rich” and “poor” are understood — not through numbers, but through how life is seen and lived.
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— COTH x Christina Cheuk

Bread: Survival or Luxury presents Cindy (Xinyi) Wu’s jewellery collection Rising, exploring the transformation of bread from a basic necessity into an object of adornment. As a universal symbol of nourishment and survival, bread is preserved and reimagined as something precious, challenging how value is perceived. Rooted in the gestures of bread-making — kneading, stretching, and rising — Wu’s works embody processes of care and transformation. By suspending a material typically meant to be consumed between fragility and permanence, the collection reflects on the delicate boundary between necessity and luxury. Through this understated contrast, the exhibition invites viewers to reconsider everyday essentials and reflect on the deeper emotional and human significance of nourishment.
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— COTH x Cindy (Xinyi) Wu

What Remains? showcases artworks by Ruilin Li, bringing together works from The Last Storage Collection, Zeroing, and Ten Pairs Gesture. The exhibition explores the quiet persistence of trace in a world shaped by accumulation and excess, unfolding through processes of reduction, repetition, and material transformation. As function dissolves and surfaces are worn, objects are not preserved in their original state but altered through use — revealing that every act of contact leaves a mark, and every process of removal leaves something behind. Rather than focusing on loss, the works draw attention to what continues to exist beyond disappearance: residue, imprint, and presence. In doing so, What Remains? invites a reconsideration of value — not in what is retained in fullness, but in what remains after change.
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— COTH x Ruilin Li

No Place to Land presents works from Josephine Kang’s Psyche and Becoming the Butterfly jewellery collections, exploring transformation, embodiment, and the symbolism of the butterfly. In Becoming the Butterfly, the wearer completes the form by becoming the butterfly’s body, while Psyche draws from the Greek word meaning both butterfly and soul, reflecting on fragility and quiet strength. Reframed within today’s ecological crisis, the exhibition highlights the growing loss of butterfly habitats due to environmental change. Through her work, the human body becomes a symbolic refuge for butterflies losing their natural ground, inviting reflection on our responsibility to protect fragile ecosystems before their wings fall silent.
 
— COTH x Josephine Kang

Parallel Hong Kong captures the city as it exists in the same moment, yet across different realities. Crowded streets and silent hills, survival and leisure, tradition and ambition unfold side by side within one city. Through photography, Lok documents these parallel rhythms of life — not to draw comparison, but to acknowledge their coexistence. Each image reflects a fragment of Hong Kong’s layered and shifting landscape, revealing what is often unseen or overlooked. By observing these contrasts, Parallel Hong Kong invites viewers to pause, reflect, and recognise the lives moving alongside their own.
 
— COTH x Samson Lok

Step into a world where wanderlust meets whimsy! Each artwork is a passport to joy - whether it's by the poolside in Greece sparkling at golden hour or a farmland where bear cubs and sheep picnic under pure blue sky. I visualise not just places, but feelings; not just scenes, but heartwarming moments frozen in glittering time. Look closely and you'll find a universe of delightful details, each one whispering: "This moment is magic. Stay awhile."​
 
— COTH x Hyeon

BEHIND is a visual narrative of resilience, transformation, and self-acceptance. It is a reflection of the moments when we feel left behind, yet continue to grow in our own time. The collection draws inspiration from the fluidity of a fish tail - symbolising the feeling of being out of sync with the world - while simultaneously blooming into flowers, representing the beauty found in struggle and healing.
 
Through rough textures and layered compositions, BEHIND embraces imperfection, proving that even in adversity, there is strength, movement, and grace. This series is a testament to the idea that setbacks are not failures, but part of the journey toward becoming something greater.
 
— COTH x Qiao