Floating Icon: KAWS’s Record-Breaking Sculpture Takes Over Victoria Harbour

In March 2019, one of the most striking public art installations in recent memory arrived in Hong Kong. A colossal 37-meter (121-foot) inflatable figure known as Companion by the American artist KAWS reclined serenely on the waters of Victoria Harbour, its crossed-out eyes gazing skyward in a posture of perfect repose. Against the glittering backdrop of Hong Kong’s iconic skyline—complete with the towering International Finance Centre and the bustling Star Ferry terminals—the monochrome sculpture created an unforgettable juxtaposition of contemporary art, street culture, and urban spectacle.

The installation, titled KAWS:HOLIDAY, was organized by Hong Kong-based creative studio AllRightsReserved as part of Hong Kong Arts Month and coincided with the buzz of Art Basel Hong Kong. It marked the largest iteration yet of KAWS’s signature Companion character and followed previous stops in Taipei and Seoul. Tugboats carefully maneuvered the massive inflatable into position off the Central Harbourfront, where it was anchored by a 40-ton metal base. The project reportedly cost over HK$10 million (approximately $1.3 million USD) and quickly became a social media phenomenon, drawing crowds to the waterfront to snap photos and contemplate the oversized figure floating peacefully amid the city’s frenetic energy.

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Born Brian Donnelly in 1974 in Jersey City, New Jersey, KAWS (the stylized tag he chose for its visual appeal) emerged from the graffiti scene of the 1990s. After studying illustration at the School of Visual Arts in New York, he began his career intervening in public spaces—altering billboards and advertisements with his distinctive cartoonish figures. These early “subvertisements” blended street art rebellion with a deep appreciation for pop culture and consumerism.

KAWS’s work evolved rapidly. He gained international fame through limited-edition toys, apparel collaborations (with brands like Supreme, Dior, and Uniqlo), and large-scale sculptures. His Companion figure—a simplified, skull-like character with X-ed out eyes—has become a global icon, appearing in various forms from small vinyl toys to monumental public works. The “X” motif, which KAWS has described as representing a sense of alienation or emotional void, resonates across cultures, making his art accessible yet layered with meaning.

KAWS straddles the worlds of fine art, design, and commercial culture. His pieces command high prices at auction, yet he maintains a commitment to public engagement. As he told TIME magazine around the Hong Kong launch: “I was thinking of all the tension in the world, and I wanted to create work that would make people think about relaxing. And there’s nothing more relaxing than lying on your back in water and looking up at the sky.” The reclining pose of the Victoria Harbour Companion perfectly embodied this philosophy.

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The Hong Kong installation was more than just a big balloon. It transformed Victoria Harbour—one of the world’s busiest and most photographed waterways—into an impromptu gallery. The grey-and-white Companion, dressed in its characteristic shorts and gloves, bobbed gently with the tides. Its peaceful demeanor contrasted sharply with the surrounding hustle: passing junks, Star Ferries, and the constant movement of one of Asia’s great financial hubs.

AllRightsReserved, the studio behind the project, has a track record of viral public installations in the same harbor, including Florentijn Hofman’s giant Rubber Duck and Paulo Grangeon’s 1,600 papier-mâché pandas. They knew how to stage spectacle. The launch featured a celebratory water spray performance by the Hong Kong Fireboat. For the duration of its stay (originally planned until March 31 but cut short by weather concerns), the sculpture drew families, tourists, and art enthusiasts alike. Many visitors lay down on the promenade, mimicking the figure’s relaxed pose for photos—a testament to its disarming charm.

The timing was strategic. Art Basel Hong Kong attracts thousands of collectors, gallerists, and artists each year. Placing a free, monumental KAWS work in such a visible public space democratized access to contemporary art, bridging the gap between elite fair-goers and everyday citizens. It also highlighted Hong Kong’s ambition to position itself as Asia’s cultural capital, using bold public art to complement its world-class museums and galleries.

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The 2019 KAWS:HOLIDAY in Hong Kong amplified the artist’s global profile. It generated widespread media coverage and social media shares, with hashtags like #KAWSHongKong trending. Critics debated whether such populist works diluted the seriousness of contemporary art or cleverly expanded its reach. Supporters praised KAWS for creating moments of joy and reflection in busy urban environments.

The installation also underscored themes central to KAWS’s practice: consumerism, isolation in the digital age, and the power of shared cultural symbols. Companion is neither purely joyful nor melancholic; its blank X-eyes invite projection. In a high-pressure city like Hong Kong—known for its fast pace, dense population, and economic intensity—the sight of a giant figure simply resting offered a subtle form of resistance and respite.

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The success of the 2019 project paved the way for future unions. In late 2025, AllRightsReserved organized the “World’s First Water Parade” in Victoria Harbour, featuring another KAWS creation: a Companion fused with Sesame Street’s Elmo. This red-and-yellow inflatable joined Doraemon, McDonald’s Grimace, and POP MART’s Labubu in a festive fleet that paraded across the harbor from October 25 to November 1.

These later events built directly on the foundation laid in 2019, proving the enduring appeal of large-scale inflatable art in public spaces. They blended high art with pop culture nostalgia, attracting even broader audiences.

KAWS and Labubus To Take Over Hong Kong For “Water Parade”

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Public art like KAWS’s Companion in Victoria Harbour serves multiple functions. It activates civic space, fosters community interaction, and sparks dialogue about the role of art in everyday life. In an era dominated by digital screens, experiencing a 121-foot sculpture in the physical world feels refreshingly tangible. It reminds us that art doesn’t have to be confined to white-cube galleries; it can float on water, dwarf skyscrapers, and invite us to pause.

For KAWS, these projects represent the culmination of a career spent blurring boundaries. From graffiti tags on New Jersey walls to multi-million-dollar auctions and harbor-filling inflatables, his trajectory reflects the democratization of art in the 21st century. The Hong Kong installation wasn’t just a photo opportunity—it was a moment of collective wonder.

Though the original 2019 sculpture has long since been deflated and moved on, its memory lingers in countless photographs, articles, and personal stories. It added another layer to Victoria Harbour’s rich visual history, proving that sometimes the biggest impact comes from the simplest gestures: a giant figure, lying back, looking up, inviting the world to do the same.