Installation View, Artwork ©uchercie

" 绘画这个媒介可以直观地表现出一直吸收的东西。"


Uchercie's works have a strong sense of space, and objects with residual biological atmosphere, and are constructed in an unclear world between fantasy and reality. By blurring the storyline and mixing different elements in this fictional world, time seems distorted, the power of technology exceeds imagination, and the boundaries of society are constantly emerging and collapsing.

The shadow falls into the shadow, 152×366cm, Oil on canvas, 2023


Main of their practices under the umbrella of accelerasionism, based on which they construct the complexity of post-capitalism and the fate of mankind within it. Uchercie outlines a future fantasy full of curves and intersections, a space that advocates the origin of the universe, praises heterogeneous self-expression, and challenges the traditional binary system, which leads to a more fluid, inclusive, and communicable future.

Installation View, Artwork ©uchercie


It is difficult to simply classify Uchercie's works as concrete or abstract, just as they cannot agree with their view of universal duality but is diverse and uncertain. They does not understand things as two opposites, but more to explore in-between states and intersections. Embracing individual diversity is important to Uchercie, as they believe individuals are encouraged to express themselves in unique ways, not only in terms of gender and culture. At the same time, Uchercie also pays more attention to the origin, nature, and way of existence of the universe.

Meet Wraith, Documentation film @dizzyarticle


Familiarity in photography, film, and theater can also be read from Uchercie's paintings. Just like the triptych works on display this time, influenced by the lens language of photography, each work has its point of view individually and as a whole. These triptych paintings are presented in a non-linear way to highlight the uncertainty of the subject and the fluidity of time. The undercurrent of dramatic conflict creates a unique rhythm to Uchercie.

Synecdoche of construction, 152×122×5cm, Oil, airbrush, MDF, 2021 ©Robbie Von Kampen gallery


Uchercie believes that painting is a combination of grammar and space syntax, while painting could intuitively express what you have been absorbing as a medium (adjust your body and behavior to create new language). They said: "Different forms of expression are just media to present concepts. Relatively speaking, painting is more infinite." And this infinity is inevitably limited by the frame. By creating tension on the canvas, infinity is engraved and contradiction is preserved. Without solving it, we can create a partial illusion of the whole world.

London Grads Now. 21, Saatchi Gallery, London ©uchercie

Installation View, Artwork ©uchercie




Q: Many viewers report that they cannot understand your work or comprehend the relationship between the work and the content discussed behind it. Can you help most people understand it in simple words?

A: It is a world that is accelerating and generating. The subjectivity and narrative of each presented object are stripped away; and they cannot bear the task of interpretation alone in this creative model. Instead, it's about the worldview and future represented by the theory of image methods behind the work.

The subject no longer points to the center and foundation that provide order and meaning to time and life but fundamentally transforms into a symbol of pure time flow, a mere indicator of the structure of temporal events.

Autoflux #01, 70×50cm, Oil on canvas, 2023




Q: Can you explain the worldview and future perspective that your work aims to express?

A:  The title of this exhibition, "Autopoetic" underscores the generative mechanism of human beings as the foundation of the system.

How do people process and resist the uniform visual communication of industrial overcapacity—statistical rendering (AI) and statistical templates (advertising, etc.) By arranging familiar elements, it reveals the discontinuities and exceptions in the future image embedded in the space between the attempt and reading experience. From Badiou's perspective, an "event" has the potential to disrupt the logical structure of capital, dismantle manipulation, and foster the liberation of the subject. The emergence of this historical theory constitutes the transcendence of phenomenology.

Installation View ©Robbie Von Kampen gallery



Q: What does the integration of other media bring to your painting? Do different media influence each other?

A: It leads to contemplation about the language system model. Understanding the characteristics of different media and their respective limitations is essential. With this understanding, they can nurture their  anti-colonial vitality.
They will influence each other, and only through this mutual influence can we break away from the typological thinking model.

Autoflux #04, 122×91cm, Oil on canvas, 2023




Q: For you, painting is a way of expressing spiritual guidance. Do you think your current works achieve this effect that transcends verbal expression and language translation?

A: I think the unique materiality, era, and working method of painting - showing cognition, emotion, psychological state, spiritual energy, and the process of processing information through body dynamics are three-dimensional and active visual mechanisms or cognitive devices.

The human being as a technical or methodological being can reach beyond syntax and translation if it is able to understand painting from a post-photographic, post-internet and post-digital image mindset and generate spatial syntax and perspectives that are not monolithic layers and not monolingual.

Fictional plants 05, 41×30cm, Oil on canvas, 2022



Q: Your artworks exhibit a harmonious sense of rhythm and conflict. Where do these qualities originate from?

A: I consider painting an embodied event, a lengthy generative process resulting from my absorption of and resistance to the surrounding environment. It's a fusion of this movement and a trigger rooted in something nonexistent but stimulating within my imagination. These two dynamic layers, combined with the chemical effects of oil painting, contribute to my associations based on observations. This involves the release and dissolution of multiple layers of information, as well as my nonlinear treatment of time and space within limited perception. It's also built upon my understanding of the logic behind software, machinery, and statistical rendering (AI) image generation. This foundation rejects an average state, a decisive moment, and a binary division between concrete and abstract, while celebrating human vitality and the rhythmic events arising from an interactive mechanism.

Intrinsic under the dome, 152×366cm, Oil on canvas, 2023



Q: Is there a process from exploring post-digital aspects to spirituality and even "Tao"?

A: It's a contemporary blend rather than a linear causal process, even something of an inevitable assembleage.

Installation View, Artwork ©uchercie



Q: Studying future visions and the dilemmas of post-human progress, what kind of outcome are you seeking?

A: Within the accelerationist mythos I'm constructing, I prioritize the origin of the universe, individual awakening and transcendence, and celebrate heterogenous self-expression. It's an attempt to break away from the possibility of surplus value being plundered, embracing a concept of entropy reduction in Techno Apocalypse.


Interviewed by @Simulacra