Inside the Studio: Shasha Hu
In this edition of Inside the Studio, we explore the captivating world of Shasha Hu, a multidisciplinary artist who masterfully merges figure and landscape painting to create a unique visual experience. Born in China and currently residing in New York, Shasha's works are an elegant synthesis of Eastern and Western artistic traditions. Her journey from traditional easel painting to digital experimentation has resulted in a body of work that is both thoughtful and dynamic. In our conversation, she delves into the inspiration behind her blurred artistic boundaries, her exploration of spontaneity, and how cultural contexts have shaped her vision.
Read on to learn more in an exclusive interview with Shasha Hu :
1. Your work explores the blurred boundaries between figure and landscape painting through a multi-dimensional presentation. Can you elaborate on what inspired you to explore this theme?
There is an old Chinese saying, "A person is like the world," and Western art also emphasises the social aspect of art. From a young age, my painting training focused on still life, but in reality, people themselves are the true "still life." I am fascinated by the visual study of human appearance, body shape, clothing, and their relationship within space. This is somewhat similar to how artists like Lucian Freud or Cecily Brown use color and composition to observe people. It’s also akin to detective fiction, where the artist’s eye focuses on the details of others.
On the other hand, the essence and layers of landscape painting, and the sense of physical and emotional pleasure it provides to viewers, are also what I aim to create and share in my work. By exploring these blurred boundaries, I seek to merge the characteristics of figure and landscape painting, offering viewers a new visual experience and emotional resonance.
2. How do you approach the transition from digital paintings to traditional easel paintings in your creative process? What challenges or advantages do you find in each medium?
In Beijing, I had seven large studio spaces, but they were all demolished for various reasons. Later, with the onset of the pandemic, access to traditional easel painting materials became limited, leading me to transition to painting on the iPad. The advantages of painting on the iPad include the freedom of space and location, as well as the ability to experiment with various software effects. It also allows for faster depiction of figures.
However, the display effects of iPad painting are limited, lacking the physical texture of traditional painting. Additionally, traditional painting offers a sense of spontaneity and a tactile recording process where the artist reflects and adjusts while painting, which is something digital methods cannot fully replicate.
3. You’ve mentioned using random and unconscious brushstrokes in your work. How do you balance spontaneity with intentionality in your art?
Taoist philosophy emphasises following one's heart without overstepping boundaries. To me, art is akin to shamanism, grounded in extensive foundational training and personal experience, while also being responsive to the present moment and anticipatory of the future. When I paint, I begin with a basic reference, such as a model or a photograph, and prepare drafts and layers. However, during the actual creation process, I aim to achieve a state of self-forgetfulness or a Zen-like mindset. In this state, I focus on being fully immersed in the moment rather than on specific techniques. Ultimately, the aesthetic quality of the final result becomes secondary to the depth of the creative experience and the authenticity of the expression.
4. Your work has been featured in various significant exhibitions in both Beijing and New York. How has the cultural context of these locations influenced your art?
During my time studying at art schools in New York, Beijing, and London, and working at the Metropolitan Museum of Art, I participated in several group exhibitions curated by museums. I believe that the cultural exchanges across different regions had an indelible impact on me in my 20s. For instance, the influences of Eastern calligraphy, landscape painting, and poetry, combined with Western literature, lifestyle, and art history, have greatly enhanced my ability to engage with abstract expression in painting. Unfortunately, as global differences increasingly converge and individuals become more standardised and homogenised, this rich diversity seems to be diminishing.
5. In what ways do you incorporate art history and aesthetic clues into your paintings? Are there specific historical or contemporary artists who have influenced your style?
In my early years at art school, I received extensive training in traditional realistic painting techniques, including sketching light and shadow, understanding light sources, structure, and color composition, and life drawing of the human figure. Additionally, my grandfather taught me calligraphy and the technique of copying ink paintings when I was young.
Working in galleries and museums exposed me to the original works of many Western art masters. Observing their brushwork and methods of combining expression up close had a profound impact on me. Many artists influenced my use of color, and working on color matching and painting for the artist Tobias Rehberger expanded my range of color application. David Hockney’s book, in which he uses the concept of visual thinking to understand Chinese scroll painting and its scatter perspective, while also integrating the latest technology such as the iPad, has become a significant part of my creative process.
6. How do you see your work evolving in the future, particularly in relation to the digital and traditional mediums you currently use?
Our visual thinking has evolved from the traditional pinhole camera imaging to digital methods. For instance, even traditional paintings are now often converted into digital photos for dissemination and sharing. I believe that by integrating these two approaches—human and artificial intelligence language—I am exploring new possibilities for visual observation. While this may sometimes result in unconventional or uncomfortable outcomes, it also represents an opportunity to break out of comfort zones and develop new visual languages. I am focused on experimenting with diverse styles rather than adhering to a commercialised, fixed pattern.
7. Can you discuss a particular piece or exhibition that you feel best represents your artistic philosophy?
Last year, at the Kino Santo annual group exhibition in New York, my work "Me, My Shadow, and Moon" fully expressed my creative vision. It combines Tang poetry, Western action painting, and the results of chance-based multi-layered abstract painting. All who viewed it appreciated its digital color palette.
8. How do you perceive the role of technology in contemporary art, especially in relation to your own practice?
Throughout art history, artists have used the most advanced tools of their time—such as pencils, handmade paper, and cameras—to push the boundaries of their creative practice. Similarly, today, I choose to integrate the iPad, artificial intelligence, and traditional painting materials in my experimentation.
Shasha Hu’s work is a powerful dialogue between tradition and modernity, spontaneity and technique, and digital and physical media. Through her unique blending of figure and landscape, Shasha invites us to rethink how we experience both people and nature, offering a profound emotional and visual experience. Her future works promise to push these boundaries even further, creating a space where art and technology meet, evolve, and inspire.
You can learn more about Shasha Hu and her work via these links:
Website: https://www.hushasha.com/
Instagram: @shashahushasha
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