Wu Muhan (1997) was born in Quzhou, Zhejiang Province, China, and graduated from East China Normal University with a degree in Public Art in 2022, and now lives and works in Shanghai. Her work often starts from the essence of the "object", dismantling the original message and function of the object in human society, focusing on the interrelationships between the objects, and respecting the individuality of the object's form. She is good at using any spatial dimension to dismantle the visual experience of readymade, two-handed, and discarded objects, emphasizing the chaos, complexity, and emptiness of the object, and triggering the viewer to think beyond themselves.
Art Talk | Q & A
Muhan Wu
Untitled, 2018
Wire, wooden rode
50h x 50w x 50d cm
© Courtesy of the artist
A. I have a strong but subtle feeling about the material world. The object property and temporality of scrap, and the precision and industrialization of spare parts can correspond to this subtle feeling. I use these "scraps" and "parts" to create works in the hope that their imperfections and incompleteness can return to the residual value of the material origin in the situation of overproduction. As originally produced objects, their functions may already be incomplete. I hope that in restructuring of my creations, I can discover their unseen or objectively existing values and functions that are not recognized by human society.
Muhan Wu
Holy, 2019
Spring mattress, fluorescent light
150h x 200w x 20d cm
© Courtesy of the artist
Q. We mentioned "the original function of the item". What do you think about the "original function" of an object? Why do you always want to dismantle it?
Muhan Wu
Denotation, 2019
Chair, drying rack
140h x 200w x 60d cm
© Courtesy of the artist
A. In my view, the original, or "accepted", function of an object is based on human logic, and even if it has an extended use, it is still not free from conventional logic, or stereotypical thinking. Eliminating this logic, which is based on human society, will allow objects to derive and reorganize themselves in new systems in a freer manner. It can be said that, in essence, what I want to eliminate in my creations is the aesthetic sense guided by "functionalism". After removing such constraints and frameworks, I can more freely utilize my intuition and natural science thinking and methods to build up a sense of commonality towards "objects" in a diffuse manner.
Muhan Wu
Untitled, 2018
Meat hook, barbecue tray
30h x 15w x 15d cm
© Courtesy of the artist
Q. It seems that you like to present the laws of physics in your work. Do you have any special feelings about physics? What about factories?
A. I've actually always been interested in the natural sciences and would buy books and watch documentaries. I think physics reflects the foundation of understanding the world, and creativity itself is also a way of reflecting one's own perception of the world and dialogue with the world, so it's interconnected. The grandeur and precision of physics can present the mystery and romance of the "unknown" in our limited understanding. The energy and materiality embodied in the nature and character of physics are also a kind of beauty. I used to go to factories when I was a child, and my interest in machinery may have come from my childhood fantasies about the precision of machines in the roar of repetitive operations in factories.
Muhan Wu
Curvature, 2019
Wood table, carbon fiber
150h x 80w x 20d cm
© Courtesy of the artist
Q. Do you think your style has changed slightly throughout your career? What kind of work do you want to create next?
A. In terms of the form of creation, my installation works have gone from flat to three-dimensional, from static installations to low-tech mechanical movements. However, in my creations, I have always hoped not to be dominated by technology. Instead, I hope to take the object itself as the main body and seek for subtle emotional resonance and excitement.
Muhan Wu
Butterfly side, 2020
Wooden board carving
29h x 29w cm
© Courtesy of the artist
In the next step of creation, I hope to replace grammatical structure with mechanical momentum to dissolve the limitations of thinking brought by context. I would like to try to add tiny changes in the elements of light, electricity and chemistry, so that machinery and objects can be combined into a new system, presenting a concretized poetry of fragility and balance.
Muhan Wu
Longer, 2018
Mixed media
Dimensions variable
© Courtesy of the artist
