Liang Hao: Doubled Bifurcation: He Art Museum, Foshan, China

The gestures that keep recurring in Liang Hao's paintingsmake it difficult for us to recognize the emotions andmotives of the figures. Although the scenes are placed ia modular structure and industrial lighting, the absenceof context eradicates the meanings and makes themobscure. This is probably a mockery of the reality thatconstantly alienating us.

However, don't forget that there are other gestures in hispaintings.They are more symbolic and mobilized byemotion, being staged on the covers of the books, or onthe pages that are flipped by hands. Tips of the fingersare pointing towards an imaginary reality, the gypsysoothsayer in Caravaggio's painting; the boy bitten by alizard or a fragment of an ancient Greek sculpture.

One gesture is nested within another. By referencing distantworks, Liang Hao's images differ from the recursiveself-referentiality found in art history.Instead, he prefersto play with the dialectical relationships between imagesemotional and restrained, meaningful and meaningless,active and suspended, narrative and non-narrativeclassic and contemporary. In the end, there is no longer aunitary mirror image in his works. The reflections in thepaintings become a stimulus of interruption, substitutionand multiplicity in the space he creates on canvas.