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HAO ZECHENG​

b.1993, Beijing, China

Lives and works in Beijing and London

 

Hao Zecheng uses photos and memories as reference texts to describe the neglected scenes in daily life. Through the detailed description of uncertainty in the picture, he created images of time, space and events overlapping with each other. The artist recaptured the traces of time, presented the subtle relationship between self and image while processing the image, and connected the behaviour mode with "sequential painting – disordering – reconnecting", mixing reality and dreams, imagination and perception within the picture, which describes the artist's trance feeling of being and shuttling in the contemporary landscape.

 

In the creative process, Hao Zecheng formed his own unique method of language processing, integrating the random images that have not been designed and sorted into the context of art, blending them with reality and memory into specific empirical value. The image of the picture will be generated with the layers of density and dynamic description. This method has become an important way for him to break through the figurative quality of the landscape. His painting begins with the reproduction of images and narratives in snapshots. In the image space, the hand works under the control of the eye. However, due to the intervention of camera noise, random images, unclear shapes, fractures, and colour patches create disastrous confusion. He must handle this situation with random strokes, stains, and graffiti. With the increase of random and uncertain elements, the ratio of sensation and memory in the image gradually increases. In addition, the information and text contained in the screen image different from the real scene are also constantly produced, and the nature of the original image has changed. For example, streetlamp-fireworks, city galaxy, branch-calligraphy, mountain-monument, etc. The scenery escapes into a poetic space through memory and noise.

 

Memory is fluid. The remaining cognitive memory of time in the snapshot changes with the expansion of structure and the migration of interest points. However, emphasizing the restoration of the scene and situation is a deliberate retention of the original image. This persistent experience of the image presents the trace of self-experience from the perspective of the artist. While depicting elements and recreating scenes, randomness and uncertainty are given a special path in the variation of the image. The canvas is full of ambiguous but at the same time distinguishable images. In this way, the artist generates an overlapping paradise of subconsciousness, fantasy and imagination.