10 Questions with Haige Wu

Haige Wu (b. June 22, 1998, Guangdong, China) is an artist and illustrator with a practice spanning London and China. A graduate of UAL Central Saint Martins (MA Fine Art), her work blends traditional techniques such as lacquer painting and woodworking with contemporary methods, exploring themes of regional culture, feminism, and identity. Currently experimenting with felt for its dual qualities of softness and strength, Haige’s innovative approach has garnered recognition, with her piece Audience shortlisted for the Holt Festival Art Prize in 2024.

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ARTIST STATEMENT

Haige Wu’s artistic practice delves deeply into themes of identity, culture, and the female experience, using sculpture and painting as narrative tools. In her recent body of work, Haige adopts the dual perspective of both participant and observer, telling the story of a multi-generational Hakka family influenced by traditional values and modern shifts. Through a combination of diverse mediums and Eastern elements, she reflects on the impact of heritage and cultural transmission across four generations.

Her current exploration of felt adds a layer of metaphor, symbolizing the softness and strength found in human relationships. By blending traditional techniques like lacquer painting and woodworking with contemporary materials, Haige offers her viewers an introspective journey. Recently shortlisted for the Holt Festival Art Prize 2024, she continues to create works that bridge cultural divides and evoke thoughtful dialogue about personal and shared histories.

INTERVIEW

Please introduce yourself to our readers. Who are you, and how did you develop into the artist you are today?

My name is Haige Wu, and I am a Chinese artist currently based in London. My work primarily involves mixed-media sculpture and painting, using storytelling to reflect my personal experiences and surroundings. I began formal art training at the age of eight and studied across cities such as Shenzhen, Beijing, and Nanjing as an art student. In 2016, I entered the Guangzhou Academy of Fine Arts, where I was introduced to contemporary art and learned various traditional techniques, including lacquer painting, lampworking, and woodworking. In 2021, I moved to London to pursue a master's degree in Fine Arts at Central Saint Martins, focusing on themes such as femininity, regional culture, and self-identity. My work integrates elements of Chinese regional culture, such as architecture and customs, to explore how small communities reflect larger societal phenomena through a contemporary lens. 

When did you first realize you wanted to be an artist? Was there a pivotal moment or influence that sparked your desire to create? 

I had two pivotal realizations, one at the age of eight and another at twenty. These moments were separated by years of personal growth and self-discovery, much like a seed planted and eventually sprouting at the right time. At eight, I discovered how art gave me a safe space for self-reflection. At twenty, under the guidance of my lacquer art teacher, I was introduced to contemporary art and was deeply moved by its powerful yet simple expressions. This shift made me realize that what I couldn't articulate or achieve in life, I could express and accomplish through art. It was a journey from self-healing to using art as a platform for dialogue.

How would you describe your artistic process? Are there specific rituals, materials, or procedures that you consider essential?

My creative process is structured yet flexible, like a tree with a solid trunk and spontaneous branches. The core process involves inspiration, sketching, experimentation, and execution. However, smaller ideas often emerge while working on primary projects, adding unexpected depth to my work. I focus intensively on one project at a time but allow myself moments of creative detours to refresh and inspire me.

You work across different mediums and techniques. What draws you to traditional techniques like lacquer painting and woodworking, and how do they enhance your storytelling in a contemporary context?

I choose traditional techniques because of my genuine love for them. I enjoy working with materials and feeling their transformation and unpredictability. Combining these methods with modern ideas allows me to show how ancient craftsmanship can thrive in today's world. At its core, my work carries a bold and unconventional spirit—I'm fascinated by the contrast and interaction between opposing elements.

What inspired you to explore themes of identity, culture, and the female experience in the first place? Are they rooted in your personal experience, or do you analyze them on a broader level? And what influence have Eastern cultural elements had on your exploration?

My exploration of identity, culture, and the female experience comes from living these stories. In my sculpture series Sweet Home, for instance, I positioned myself as both a participant and an observer. I drew from personal moments, such as witnessing my grandmother's three-day funeral rites and the architectural evolution from Hakka roundhouses to rural self-built homes. These personal emotions drive the narratives of my work, while the distance and collision between traditional and modern perspectives compel me to analyze and reflect. Eastern cultural elements are an inherent part of my identity, shaping my aesthetics and thought processes. They greatly influence my expression, and I am continuously exploring how and when to incorporate them into my practice. 

Your work bridges regional culture with modern themes. How do you balance these different influences in your creative process?

The geometric elements in my work often serve as a bridge, balancing these diverse influences. While they appear abstract, they are inspired by natural forms and traditional architecture. I see a universality between nature and contemporary concepts, just as regional cultural ideas often manifest differently when placed in a new context. My work reflects these parallels, creating a balance between the old and the new.

What challenges have you faced in blending traditional and contemporary methods, and how have these challenges shaped your artistic growth?

One major challenge has been balancing respect for traditional techniques with the freedom of contemporary expression. Early on, I often became overly cautious, focusing on technical perfection and historical accuracy, which sometimes restricted the energy of my work. Over time, I learned to embrace spontaneity and allow for experimentation alongside structured processes. This balance has helped me create work that feels both alive and authentic while still honouring the traditions that inspire me.

How do you hope viewers connect with your work and the concepts you explore? Is there a particular message or emotion you want them to leave with?

While my works contain specific narratives, I don't expect viewers to fully understand my story. Instead, I want them to connect with the parts that resonate with them personally. Emotional expression is boundless, and elements like thematerials, Eastern aesthetics, and overall atmosphere of my work are often enough to guide viewers. My goal is to invite them into the artistic world I've constructed and allow them to explore and find their own answers.

Are there any new mediums, themes, or collaborations you're excited to explore in your practice?

At the moment, I'm deeply satisfied with the diversity of materials I'm working with, particularly felt. Its soft yet resilient fibres captivate me, and I'm eager to explore its various possibilities. Rather than seeking new materials, I'm focused on reimagining how familiar ones can be used. Living as a Chinese artist in the UK, the cultural intersections and personal experiences continue to inspire my work.

Lastly, as we get closer to the end of the year, what are your main goals for 2024? And how did it go so far?

This year has been extraordinary for me, marking the beginning of my journey as an artist on the international stage. Stepping out of the safe haven of academia, I've been navigating relationships with galleries, media, and the public—something far more challenging than creating artwork. Notably, I ventured into designing functional art pieces, which received an enthusiastic response at exhibitions and events in France. Exploring the intersection of art and commerce has been a key theme for me this year and is a shared focus among young artists. Art is a lifelong commitment for me, and I will continue striving for sustainability in my practice.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.