侯子超
简介Biography
侯子超（Hou Zichao，1991年出生）的实践涉及绘画和装置在内的多种媒介，关注当下文化语境中人与自然间的矛盾关系。他利用图像语言强调人造景观与真实自然的距离，以及徘徊于安稳花园与欲望荒野之间的理想环境。在电子图像观看习惯与艺术家绘画行为的对峙中，隐藏着古代占卜与数据算法间复杂且个人化的表达——通过图层的堆叠与信息提取，从而实现“混乱”画面与抽象意向间的微妙平衡。对于侯子超，风景像是一个取之不竭的数据库，掏出几个字符，便能组合成这个“理想的景观”。
Hou Zi Chao’s (born 1991) practice encompasses multiple media including painting and installation, addressing the contradictory relationship between humans and nature within the contemporary cultural context. He employs visual language to underscore the distance between artificial landscapes and authentic nature, as well as an ideal environment that oscillates between the tranquil garden and the wilderness of desire. In the confrontation between the habit of viewing electronic images and the artist’s act of painting lies a complex and personal expression bridging ancient divination and data algorithms—through the layering of images and the extraction of information, a subtle balance between a “chaotic” composition and abstract intent is attained. For Hou Zi Chao, landscape is akin to an inexhaustible database; picking out a few characters, one can assemble this “ideal landscape.”
代表作Selected Works
展览履历Exhibitions
- 2026太阳山马刺画廊 SPURS Gallery · 马刺画廊
- 2024猎果马刺画廊个展 · 马刺画廊
- 2022厄尔塔马刺画廊个展 · 马刺画廊
艺见洞察ArtMatters Insights
代表作与创作Selected Works & Style
侯子超（1988年出生）的创作持续围绕风景展开，但他笔下的景观很少对应某个真实存在的地点，更像是不同经验留下的残片——旅行途中掠过的山脉、社交媒体上的截图、童年记忆中的火山，以及一些难以确认来源的图像，共同进入绘画。它们在不断覆盖和移动中，形成一种始终处于变化中的风景。
在媒介与观念上，他的实践涉及绘画和装置，关注当下文化语境中人与自然间的矛盾关系。他利用图像语言强调人造景观与真实自然的距离，以及徘徊于安稳花园与欲望荒野之间的理想环境。在电子图像观看习惯与艺术家绘画行为的对峙中，隐藏着古代占卜与数据算法间复杂且个人化的表达——通过图层的堆叠与信息提取，从而实现“混乱”画面与抽象意向间的微妙平衡。对他来说，风景像是一个取之不竭的数据库，掏出几个字符，便能组合成这个“理想的景观”。
代表作包括：
- 《猎果》《辩果》《撂果核》
- 《风餐摇火》
- 《两棵棕榈树之间，往海走》
- 《坐标，度假胜地，冒险的心》
- 《绿洲（星矿）》《Oasis》
Hou Zi Chao (b. 1988) works primarily in acrylic and oil, focusing on landscape themes. His representative works include *Oasis* (2022), *Between Two Palm Trees, Towards the Sea* (2026), *Hunting Fruit* (2024), *Arguing Fruit* (2024), *Coordinates, Holiday Destination, Adventurous Heart* (2026), *Wind Meal Shaking Fire* (2024), *Dropping Fruit Stones* (2024), *Oasis (Star Mine)* (2026), and several untitled pieces from 2022.
His creative style revolves around the contradictory relationship between humans and nature in the current cultural context. He employs an image-based language to emphasize the distance between man-made landscapes and authentic nature, exploring an ideal environment that hovers between the safe garden and the wilderness of desire. Through the layering and extraction of images, he creates a delicate balance between chaotic surfaces and abstract intentions, treating the landscape as an inexhaustible database from which he assembles an "ideal landscape." The interplay between digital image consumption habits and painterly gesture reflects a complex expression that merges ancient divination with contemporary data algorithms.
展览与收藏Exhibitions & Collections
根据艺术家档案数据，侯子超的展览记录如下：
**展览**
- 2026年，于**马刺画廊 SPURS Gallery** 举办个展“太阳山”。
- 2024年，于**马刺画廊** 举办个展“猎果”。
- 2022年，于**马刺画廊** 举办个展“厄尔塔”。
**收藏**
目前平台公开的档案数据中，暂无关于侯子超作品被哪些机构收藏的记录。
Hou Zi Chao has held solo exhibitions at **SPURS Gallery** (马刺画廊) in Beijing, including:
- *Sun Mountain* (太阳山, 2026)
- *Hunting Fruit* (猎果, 2024)
- *Elta* (厄尔塔, 2022)
As for institutional collections, the available data does not specify any institutions that have collected his work.
