In her paintings, Shasha Hu plays with two heavy tropes: that of addressing the complexity of the contemporary surplus of image-production and that of engaging with a medium that is easily considered either conservative-nostalgic or nothing more than a straight-forward commercial option
If both scenarios would not leave much room or options in between for ‘art’ itself, it is in the attitude of ‘playing’ with these insidious clichés, that Shasha finds her way to present works whose simulated carelessness and apparent casual approach, generate an unspecific and diffuse freshness of intention and execution.
Trained academically and used to explore different techniques, mediums and compositions, she has avoided to follow a rational progression towards a typical and recognizable style to pursue an investigation in the possibilities that the act and the routine of painting still possess in a multi-media, hyperconnected, image saturated context such as today’s reality.
Shifting from the lyrical and colorful juxtaposition of heteroclite elements to the minimalistic but still spontaneous reduction to pseudo-geometric forms, jumping from the representational to the abstract, passing through the scribbling and the calligraphic gesture, Shasha is literally cooking images with all the ingredients she knows, avoiding the conundrum of the ‘one and only way’ and responding with humor and lightness to the today repetitive and too often mechanical routine of exhibiting paintings in a gallery space.
Walking around and looking at these works gives a particular feeling: seems like Shasha, (how unconsciously or not is just for her to say), had imagined an analogic transposition of swapping between endless images on a mobile phone screen, in which the physicality of the paintings with their quite large format, their variety of techniques, subjects, composition, quotes and palette, ironically attempts to counter balance with a mimetic but ‘real’ experience, our loss of faith in images and the numbness generated by the digital saturation of synthetic media.
The sincerity and generosity with which she communicates her faith in the act of painting, resonate in this idiosyncratic choice or works that, instead of stealing the viewers’ energy, it re-distributes it through its own audacity.