The work of Wu Linghao is an aesthetic study of the relation between space, human body and chromatic variations. Throughout his paintings, the viewer is able to find a series of constructed environments, architectural interiors, ambiguous landscapes, habited by human or quasi-human characters who, in the main, look like they are becoming the machines or are parts of the setting. In all the cases, the painter’s visual vocabulary excels with precision and imagination.
In previous series of paintings where the blue tonalities were more obvious and dominant, the artist conjures a bizarre alien world where strange living shapes are floating somewhere between nature, human and object. Slim white forms are twisting and hanging like they have been thrown into zero gravity and after a close look one can find these figures to be pieces of anatomy, tools or maybe parts of a ritual but without being able to say which one exactly. These shapes are getting in touch with the huge blue space areas that vary from deep night blue to the lighter cosmic-like blue and the artist tries to make the viewer feel that it is an environment which is at the same time water and sky. The compositions are being stabilized with warm ochres and the sand yellows, which bring to the memory desert horizons or even the empty earth, and by adding red spots and the motifs of the planets he can bring in a feeling of tension, heat, and cosmic time.
The contrast lies in the fact that in the latest works of the artist the decisive change is visible not only in the palette but also in the atmosphere. The paintings receive from the light beige, yellow and golden tints a warm and solid character that is totally different from the cool. The shift from blue to gold hues is more than a mere color change. It highlights a more profound encounter with a tangible world and closeness of perception.
Without changing the feeling that the paintings produce, this change has the potential of completely transforming the way the spectator looks at the depicted scene. The way in which the light flirts the forms, lightening the shadows, is not of a dead object anymore and the surfaces get a new touch, almost metaphysical.
By carrying on the use of these two very different sets of colors, the anatomic and decorative ideas of the artist run uninterrupted. Figures seem to be exposed to the constant shifts of the architectural and abstract space, habiting them in the same way as the human form has always been the problem of the artist body and the built environment. Parts of the body are cut, folded, or fused with the materials to initiate the continuing exploration of the precariousness of the human form in the structural systems. The characters do not operate as simple figures; they are being utilized as the spatial elements, the components of the wider choreography of the space.
The artworks demonstrate now that Linghao has a remarkable potency of paint and the quality of his surfaces. Softness of transitions and smoothness of brush stroke as well as a neatness that echoes his concern for accuracy are some ot the qualities of the images resulting from the tight control the artist exercises over the surface. The artist’s use of space and time is so exquisite that it is almost impossible to see how he is doing it until you really take a good look at several ot his paintings.
The story in these pictures is quite intentionally left mystifying. Resolution is withheld, while the figures, tools, and people caught in transitions or states may apply action through gesture, turning, and stillness. Meaning appears through the multiple viewings as one figure, color, and space are navigating the part and the whole of the picture plane. Overall, his work in the realm or contemporary figurative painting stands out for its composure, technical excellence, and the dynamic psychological presence of an unassuming and intriguing personality.
How would you define your work in a few words (ideally in 3 words)?
“Ambiguous”
In Chinese, the word “ambiguous” is often used to describe the vague and tense experience before a relationship is officially confirmed. The colors and narratives in my paintings aim to embody this ambiguous state. I hope to blend grand historical events with individual experiences, merging them, with the future serving as a ghostly boundary.
“timeless”
As a Chinese artist who grew up in Generation Z, I have experienced tremendous social changes. The rapidly advancing social environment and the rise of the internet have created a profound sense of nihilism stemming from the clash between the individual and the macrocosm of society, and from the fragmentation of information. This has led me to seek to reconstruct meaning in my art rather than simply deconstruct it. It’s more like a process of “demystifying” and then “re-enchanting.”
“matte”
The matte finish is most directly reflected in the materials I use in my work. All my recent pieces were painted directly on a transparent base of hemp. As the work dries, the gloss of the oil paint diminishes, creating a feeling of leaving marks on the canvas with brushstrokes during the painting process. This is because I want the final work to possess a sense of time and an understated elegance.
Earlier, your works mostly feature cooler blues, whereas your recent pictures have more of the beige, yellow, and golden colors. Why did you decide to change the colors like that, and how do you interpret this change conceptually?
In my early works, I felt I was working within a surrealist and science fiction theme, hence the overall somber tone. However, over several years of practice, I gradually found my true passion. My work is filled with complex individual emotions and reflections on history. I wanted to unify these complex experiences rather than directly expressing them with stimulating colors, aiming to enhance the readability of the work. As I answered in your first question, I wanted the imagery to be ambiguous, allowing me to subtly conceal complex content. Therefore, I heavily utilize beige, yellow, and gold, and of course, a distinct shade of red.
In most of your paintings, the figures look like they are broken down or partly turned into machines but still, they’re clearly human. How do you think about the body not only as a physical thing but also as a concept?
In my paintings, the body does indeed represent a concept of “modernity.” The structured, fragmented, and coldly man-made textures all express how culture shapes people. The cold and aloof character is related to East Asian culture and the concept of “objectification.” It is more of a spiritual symbol.
Perspective is really important in your works; very often it confuses the spectator’s spatial orientation. To what extent do you deliberately use both the architectural logic and work of illusion?You are very meticulous with your surfaces, there are smooth changes and highly polished finishes.
Initially, the use of architectural elements was a symbolic means; I was drawn to Brutalist architecture. It gave me a sense of coldness, history, and science fiction. However, as the work progressed, specific architectural elements were transformed into modernist abstract compositions and elements symbolizing grand history within the canvas.
Perspective is used in my paintings as a means of creating a mysterious space. The same image may exhibit classic linear perspective as well as the scattered perspective found in traditional Chinese painting. This allows reality and imagination to coexist.
Regarding the treatment of the canvas surface, I already explained the concept of “matte” in the first question.
How would you characterize your painting method and what role does accuracy play in it?
My painting method is to achieve a caressing pleasure through repeated brushstrokes, letting the paint gently rub onto the rough canvas.
Accuracy is indeed an important element in my work, reflecting a restrained emotion. This aligns with my personality; in both work and life, I am a relatively rational and methodical person. Moreover, using accuracy and rationality to conceal subtle emotions and feelings is a very interesting task.
There is always a certain feeling of an action that is going to happen but is held back as if time got stuck in the middle of the movement. How and what do you inspire you in this moment of stillness within movement?
As I mentioned in my previous answer, I pursue the tension within “ambiguity.” Inspiration comes from the individual’s questioning of the present moment. The childhood experiences in southern China and the modern urban life of adulthood represent the fusion of Chinese tradition and modernity. I want to achieve a state of completeness through my work, like a ritual, to re-coalesce the fragmented present.
If we’re talking about other forms of works, there’s literature, film, music, and so on. Last year, I was deeply impressed by my experience of listening to Mahler’s Second Symphony, “Resurrection,” live.
How do narrative and ambiguity play different roles in your works? Are you starting with a story, or is it through the symbols and colors that the story unfolds?
I perceive narrative as a prelude to expression, extracting fragmented words from the narrative, then searching for supporting material and emotional feelings, and finally reconstructing them into a vague expression. Color is more for creating atmosphere and emotion.
What about the place where you work? What’s your studio space look like?
My studio for the past few years has been in a small villa in the suburbs of Shanghai. I live on the third floor and work on the first. I feel that the atmosphere of my studio is like my paintings—a coexistence of rationality and sensibility. When I’m working, it’s full of planning and large areas of light, while when I’m thinking or resting, the scattered light sources at different heights create an ambiguous atmosphere. The most important thing about my studio is that it provides me with space for reflection.
Which are your plans for the near future?
There have already been several group exhibition projects this year. Most importantly, there will be a solo exhibition at Ke Yi Gallery in Beijing’s 798 Art District after October 2026. This exhibition will showcase brand new works from 2026. In these new works, I will explore the theme of “Individual Memory of Southern Experiences and Modern Urban Life.”
After next year, I hope to do an interesting project. The discussion, centered on the theme of “the Study” explored the relationships between “tradition and the present,””father and son,” and “individual and history.”
All images courtesy of the artist