Please get out
Collection:UAL Art Collection
Date: 2022
Artist: Hao Ming (Chinese)
Dimensions:
30 x 30cm
Medium: Acrylic on canvas
Object number: UAC 1115
DescriptionHao Ming studied MA Fine Art: Painting at Camberwell College of Arts. He says:
'Painting is my main form of expression. I also explore diverse techniques and materials to enhance my practice.
I'm deeply intrigued by politics in the internet era and how it visualizes history. Being a millennial, I feel at home with this approach, as it floods my mind with information, exposing social crises and past political events. My art draws heavily from internet images, news photos, memes, and graphics, portraying current events and historical archives. These pieces lack a linear narrative but compress into flat, screen-like visuals, connecting events across time.
I'm also influenced by pop art and culture, using cheerful, cartoonish characters and vibrant colours that contrast with underlying cruelty. Symbolic graphics and unruly painting techniques break boundaries, adding expressiveness and material features. This colourful style softens the seriousness of the political subjects'.
Hao Ming says that this painting 'is a story of the transition between the old regime and the new, a meeting place filled with men in suits who are moving a chair, a symbol of imperial power, out of the room. With its red background and dark suits and masks, it is hard not to think of a large official Chinese congress. I have tried to portray a kind of change, a forced, irrational change of the old times by those now in power. This also has a slight connection to the recent sensitive events in China. I do not support imperial power in a superficial sense, but I have observed in the real world that the nature of the regime may not have changed, either before or now. With the executioner, who has an Eastern character, and the watcher, who has a Western character in the distance, I seem to have intentionally or unintentionally given the painting a racial dimension'.
'Painting is my main form of expression. I also explore diverse techniques and materials to enhance my practice.
I'm deeply intrigued by politics in the internet era and how it visualizes history. Being a millennial, I feel at home with this approach, as it floods my mind with information, exposing social crises and past political events. My art draws heavily from internet images, news photos, memes, and graphics, portraying current events and historical archives. These pieces lack a linear narrative but compress into flat, screen-like visuals, connecting events across time.
I'm also influenced by pop art and culture, using cheerful, cartoonish characters and vibrant colours that contrast with underlying cruelty. Symbolic graphics and unruly painting techniques break boundaries, adding expressiveness and material features. This colourful style softens the seriousness of the political subjects'.
Hao Ming says that this painting 'is a story of the transition between the old regime and the new, a meeting place filled with men in suits who are moving a chair, a symbol of imperial power, out of the room. With its red background and dark suits and masks, it is hard not to think of a large official Chinese congress. I have tried to portray a kind of change, a forced, irrational change of the old times by those now in power. This also has a slight connection to the recent sensitive events in China. I do not support imperial power in a superficial sense, but I have observed in the real world that the nature of the regime may not have changed, either before or now. With the executioner, who has an Eastern character, and the watcher, who has a Western character in the distance, I seem to have intentionally or unintentionally given the painting a racial dimension'.
