Selected Works
Artist Bio




b.1977  Xi'an, Shanxi Province, China


Xu expands on the possibilities and meanings expressed through the visual representation of form, colour and space that is intrinsic to the noumenon of painting. On a canvas where imagery is concealed by rational and metaphysical constructions, Xu fully reveals both the sensory effects that lurk beneath as well as the potential energy inherent in a certain praxis of physicality. At the same time, these new works also capture the artist's suspicions on the legitimacy of semantic correspondence between "conception" and "painting". The exhibition features three series of works showcasing the artist's rich structural imagination as well as his immense control of it. As mentioned by Wang Min-an, these paintings on one hand express a sense of ‘captivity’, yet define‘anti-captivity’ and ‘anti-canvas’ on the other. As one of the most active young artists today, Xu sets out to continue his work exploring blurred boundaries and constructions of relationships and the ordered-self. 


Xu Xiaoguo majored in Oil Painting and graduated from the Xi'an Academy of Fine Arts in 2000. Currently based in Beijing, Xu's works take various artistic forms such as painting, pictorials and video. In recent years, Xu had been lauded with various accolades for his art, including but not limited to first prize for the "798 Arts Festival Young Artists Recommendation Exhibition", the "Academy Award for Young Artists of Film Media" from the Beijing Film Academy International New Media Arts Triennial Exhibition and the "Guanghua Qianyu Award". 


Xu Xiaoguo

12.26, 2015 - 3.5, 2015


Press / News

Bao Dong | Xu Xiaoguo's "lines"

In recent years, the “lines” in Xu Xiaowen’s painting practices are distributed to three dimensions. On the most literal dimension, the “lines” are the stripes in his painting. Since 2012, Xu Xiaoguo’s work has gradually penetrated into the study of pure visual issues from the semantics and aesthetics of the images. The various visual issues have gradually become the focus of his work. Moreover, the relationship between spatial dimension and the flatness of a painting became its center. He began to use lines and stripes to interrupt the visual space in the painting. For instance, in the Hanger series, his initial geometrical simplification of particular objects highlighted the formulaic composition of certain paintings, and in this painting context, he added lines to these painting-model objects, that allow our viewing habit of the stereoscopic and the extension of the surface suggested by these lines and stripes to connect and collide. Eventually, the background of the painting was fully covered by the layering lines that shape the logic of spatial illusion and sense of the flat surface in one’s overlapping viewing experience...

Bao Dong | From 'Conceptual Painting' to 'Conceptions of Painting'

Bao Dong: I remember that you adhered to expressionism and symbolism and also had some 'bad painting' tendencies and then changed your style to what it is now. Could you talk a little about how this began? Xu Xiaoguo: During the early period of my painting, my work had expressionist features and some symbolic subject matter. I made use of the structure of some strongly contrasting colours. These elements might have led everyone to think of my painting as being expressionist or a type of bad painting, but as I see it, the paintings during that period was conception-centered. Such a trend led me to use something like the strong colour systems that is widespread across the field of Chinese folk art and also to apply the brushstroke techniques that folk handicraftsmen used in kitschy dragon-phoenix calligraphy. I did some reworking of these elements, of course, so that they became my vernacular...

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