Melding Chinese Lacquer with European Abstraction

Why It Matters

The exhibition spotlights lacquer as a high‑concept medium, reinforcing cross‑cultural artistic exchange and elevating Su’s market profile. It also signals European institutions’ growing appetite for Asian‑root contemporary practices.

Key Takeaways

• Su Xiaobai abandoned oil for lacquer after Gerhard Richter's 2003 advice
• Alchemical Universe showcases 35 lacquer works in a 15th‑century Venetian palazzo
• Exhibition curated by LACMA's Stephen Little, designed by Kulapat Yantrasast
• Works blend Chinese ink aesthetics with Western abstract forms
• Foundation launches Shanghai curatorial residency with USC Roski School

Pulse Analysis

Su Xiaobai’s artistic trajectory illustrates how a single mentorship can reshape a career. After Gerhard Richter urged him in 2003 to set aside oils, Su devoted himself to lacquer, a material rooted in Chinese craft but rarely seen on the contemporary fine‑art stage. He builds his pieces in a strict square format, layering, scoring, and re‑coating the sap to achieve depth that recalls traditional ink washes while embracing the gestural freedom of Western abstraction. This disciplined approach has positioned lacquer as a conduit for cultural synthesis.

Alchemical Universe, staged in Venice’s historic Palazzo Soranzo Van Axel, transforms the 15th‑century rooms into a modern laboratory of light and texture. Curated by Stephen Little of LACMA and architecturally framed by Kulapat Yantrasast, the show arranges suspended lacquer squares, maroon temple‑tile panels, and a reflective "sea" of Murano glass that amplifies the works’ luminosity. The 35‑piece roster, ranging from early experiments to site‑specific creations, offers visitors a tactile narrative of Su’s evolution, reinforcing the Biennale’s mission to spotlight innovative global voices.

Beyond the exhibition, Su’s impact ripples through the art market and academic circles. The newly formed Su Xiaobai Foundation, in partnership with USC’s Roski School, launches a curatorial residency in Shanghai, funneling resources to emerging talent that bridges East and West. This institutional support, combined with heightened collector interest in lacquer’s rarity and technical mastery, suggests a broader shift: Asian materials and aesthetics are gaining foothold in Western galleries, reshaping contemporary discourse and opening fresh commercial pathways.