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 pieces display a robust spatial awareness, hinting at lingering organic atmospheres, and are set in an ambiguous realm between fantasy and reality. The narrative is intentionally vague, with assorted elements from this fictional world intermingling. As a result, we perceive a distortion in time, witness the overpowering might of technology, and observe the ever-shifting boundaries of society.

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


Their main practices fall under the umbrella of accelerationism, which they use to construct the complexity of post-capitalism and humanity's role within it. Uchercie presents a future fantasy filled with curves and intersections, a space that celebrates the universe's origin, encourages diverse self-expression, and challenges the traditional binary system. This paves the way for a more fluid, inclusive, and communicative future.

Installation View, Artwork ©uchercie


Classifying Uchercie's works as either concrete or abstract is challenging, much like reconciling their perspective on universal duality, which is diverse and uncertain. Uchercie does not view things as two opposites. Instead, they explore the in-between states and intersections. Embracing individual diversity is important to Uchercie. They believe that individuals should express themselves in unique ways, beyond just gender and culture. Uchercie also pays considerable attention to the origin, nature, and 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 sees painting as a blend of grammar and spatial syntax, a medium that can intuitively communicate what has been absorbed. They stated, "Different forms of expression are simply mediums for presenting concepts. Comparatively, painting possesses more infinity." Yet, this infinity is inherently constrained by the canvas's frame. By generating tension on the canvas, infinity is etched, and contradiction is maintained. Without resolving it, a fragmentary illusion of the entire world can be created.

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," emphasizes the generative mechanism inherent in humans as the basis of the system.

The exhibition explores how individuals process and resist the uniform visual communication resulting from industrial overproduction, such as statistical rendering (AI) and templated formats (advertising, etc.). By rearranging familiar elements, it unveils the discontinuities and exceptions present in the envisioned future, located in the space between intention and the reading experience.

Drawing from Badiou's perspective, an "event" holds the potential to disrupt the logical structure of capitalism, dismantle manipulation, and encourage the liberation of the subject. The advent of this historical theory signifies 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: This prompts reflection on the language system model. Recognizing the traits of various media and their respective constraints is crucial. This knowledge can foster their anti-colonial vigor.

These aspects will interact and influence each other. Only through this reciprocal influence can we move away from the typological thought 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