After an unusual path in approaching art production—including multimedia design, post-production work for television, blogs, online video platforms and the underground music scene—Wong Ping has found his area of interest in a variety of media including video animations, installations and environments. Frustrated and repressed sexual desires, isolation, obsessions, dominative and submissive relationships, tension between the intimate sphere and social relationships, old and young age, are some of the opposites on which the artist’s story-telling universe is structured. This imaginary, where sparks of irony flash in the darkest recesses of the human psyche, is portrayed through lo-fi shapes, pop colors, two-dimensionality and a language that harks back to obsolete technologies. The intertwining of the story—intended by the artist as a sort of diary capable of recording a myriad of thoughts and experiences—and its visual development produces deeply personal pieces that reflect on the contradictions of contemporary life. In some cases, the moving images find an extension in installations that take up the three dimensions of real space, often expressed through the obsessive accumulation and multiplication of the elements. This is also the case with The Ha Ha Ha Online Cemetery Limited (2019), an orderly sequence of toy dentures which, like the title of the work itself, recall at the same time a collective irreverent laugh and the idea of a communal burial. In this case too, the playful and ironic aspect is combined with broader reflections on the fate of mankind in today’s globalized and hyper-connected world.