Hao Liang was born in Chengdu in 1983. He graduated B.A. in Chinese Painting and M.A. in Chinese Painting from Sichuan Fine Arts Institute in 2006 and 2009. He is currently working and living in Beijing.
His recent Solo Exhibitions include Hao Liang: The Virtuous Being (Mirrored Gardens, Guangzhou, China, 2016); Hao Liang: Eight Views of Xiaoxiang (Ullens Center for Contemporary Art, Beijing, China, 2016); Hao Liang: Aura, BACA Projects 2016 (Bonnefantenmuseum, Maastricht, the Netherlands, 2016); Secluded and Infinite Places: Hao Liang Solo Exhibition (Hive Center for Contemporary Art, Beijing, China, 2014); and Nest Image – Hao Liang solo exhibition (My Humble house Art Gallery, Taipei, Taiwan, 2011). His recent group shows include Everyday Legend, Minsheng Art Museum, Shanghai, China, 2016); Nostalgia for Ancient Times: Contemporary Chinese Art (the University Museum and Art Gallery of The University of Hong Kong, China, 2016); Disguised Form - Ink Paintings’ Dimension (Guangdong Mu-seum of Art, Guangzhou, China, 2016); Mountain Sites: Views of Laoshan (Sifang Art Museum, Nanjing, China, 2016); Bentu, Chinese artists at a time of turbulence and transformation (Foundation Louis Vuitton, Paris, France, 2016); An-nual Review Exhibition of China Contemporary Ink Painting (Today Art Museum, Beijing, China, 2016); Painting as Strait Gate: Post-80s Artists Invitation Exhibition (Hive Center for Contemporary Art, Beijing, China, 2016); From the Peony Pavilion (Suzhou Jinji Lake Art Museum, Suzhou, China, 2016); Luo Zhongli Scholarship 10th Anniversary Retrospective Exhibition (Luo Zhongli Museum, Chongqing & CAFA Art Museum, Beijing, China, 2015); Editing the Spectacle: The Individual and Working Methods Post-Mediatization (Hive Center for Contemporary Art, Beijing, China, 2015); The Gar-den of Forking Paths - Tracks and Intersections of 15 Artists (Shanghai Gallery, Shanghai, China, 2015); The Fictitious Present (Art Museum of China Academy of Art, Hangzhou, China, 2015); Shuimo/Water Ink: Enchanted Landscapes (S|2, Sotheby’s New York, New York, U.S.A., 2014); Reform Art-system by Ancient Examples - Contemporary Elabo-rate-style Painting Exhibition (Today Art Museum, Beijing, China, 2014); Devotion to Ink (Hong Kong Maritime Museum & Ora-Ora, Hong Kong, China, 2014); Re-modernization - 3rd Documentary Exhibition of Fine Arts (Hubei Museum of Art, Wuhan, China, 2014); and Wormhole – Geo-attraction (Lin & Lin Gallery, Taipei, Taiwan, 2014).
Even in this day and age, when art museums are replete with a great diversity of media, Hao Liang remains fascinated by the materiality, techniques, and imagery at the heart of traditional art; he is also immersed in the deductive logic of traditional painting theory and liter-ary works. In his own practice, hand scrolls have always constituted an important form, and have come to form a perfect stage for his contemporary narratives. Holding a hand scroll unfurled on one side, and rolled up on the other side, grants its slow and dignified contemplation a specific temporality. This involvement of time has caused Western scholars to compare reading these scrolls to reciting poems, or listening to music. Although music and poetry may stimulate our visual imagination, they cannot provide the concrete boundaries for imagination nor the visual references that are the domain of hand scrolls. This kind of reading implies a process rich with visual expectation and visual memory. A hand scroll is to be perused, from left to right, same order as the visual narrative is produced. The reader thereby gains a renewed experience of the artist’s creative process, and is able to travel back and forth into an imaginative space.