Owen Fu

    BIOGRAPHY

    Owen Fu (b. 1988, Guilin, China) currently lives and works in Los Angeles. In 2018, he completed his MFA at the ArtCenter College of Design. In 2016, he received one BA in Philosophy from the Stony Brook University and the other BA in Fine Art from the School of the Art Institute of Chicago respectively.

    Owen Fu’s practice is never a specific image, it is more like a hybrid being of emotions, desires and a complicated incarnation of realities that beneath the superficial ordinary life. Behind the image is a void without a face, layered ink tones spread, in which sensual sentiments, emptiness, joy and sorrow drift around.

    Owen’s works are part of the permanent collections of institutions worldwide, including Sunpride Foundation, Hong Kong, CN; Los Angeles County Museum of Art (LACMA), Los Angeles, US; the Hammer Museum, Los Angeles, US; the Domus Collection, New York, US; the K11 Art Foundation, Hong Kong, China; the START Museum, Shanghai, China; the George Economou Collection, Athens, GR; the Aïshti Foundation, Beirut, LB; and the Juan and Patricia Vergez Collection, Buenos Aires, AR, and among others.

    Selected solo exhibitions: Owen Fu: Wang Lai, Antenna Space, Shanghai, CN (2025); Owen Fu: Own Alone, PPOW, New York, US (2025); Last Summer, Balice Hertling, Paris, FR (2023); Stealing Beauty, Antenna Space, Shanghai, CN (2022); Ordinary Things, O-Town House, Los Angeles, US (2022); After Hours, Balice Hertling, Paris, FR (2021); 6 self-portraits and one lamp, Gallery Platform LA, Los Angeles, US (2020); Bubbly Hills, Mine Project, Hong Kong, CN (2020); Small Talk, O-Town House, Los Angeles, US (2020); No Story, Art Center Main Gallery, Los Angeles, US (2018); Body Obsession, Art Center PPR, Pasadena, US (2018) among others.

    He has been the subject of group exhibitions at important institutions worldwide including: Marian Goodman Gallery, Los Angeles, US (2025); Patient Info, Chicago, US (2024); Hammer Museum, Los Angeles, US (2023); Gagosian Hong Kong, CN (2023); 2022 Beijing Biennial, Beijing, CN (2022); Balice Hertling, Paris, FR (2022, 2020); Deborah Schamoni hosting O-Town House, Munich, DE (2022); Laurel Gitlen, New York, US (2022); Beiqiu Museum of Contemporary Art, Nanjing, CN (2022); Kristina Kite Gallery, Los Angeles, US (2021); Redling Fine Art, Los Angeles, US (2021); O-Town House, Los Angeles, US (2021); Aspen Art Museum, Aspen, US (2020); Gallery Platform LA, Los Angeles, US (2020); Condo Complex: Lomex Gallery hosting O-town House, Lomex Gallery, New York, US (2019); Art Center college of Design, Pasadena, US (2018) among others.

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    Artworks

    EXHIBITIONS

    NEWS

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    ARTICLES

    • Owen Fu：无处不在的陌生感 | SuperELLE

      16 November 2024

      Owen的作品源于他对世界的观察，在流动的视觉状态中带着真诚、幽默、古怪和诗意。如今，Owen Fu已从艺术市场上的一个名字，变成一个真实而鲜活的个体， 一个在创作中不断探索的艺术家。借由本次艺术刊第五期“艺术穿越 Art Across”的契机，SuperELLE将我们所认识的Owen Fu缓缓道来。(only Chinese version)

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    • Owen Fu: The Geisttiere Dwell in the Void | LEAP – Words: Ren Yue / Translated by Kevin Wu

      Fall / 2022

      To some extent, these personified figural elements of Fu’s paintings are “creatures that sprung from feelings” or, simply, “geisttiere (mind/spirit-animals).” They never wait in lines to be painted and seen; instead, they conceal themselves within a temporality that manifests no distinctions between the artist and the viewers, wandering like crepuscular shadows that just got separated from their owners. Of course, it is still possible to converse with them or even caress them-if you also happen to be doleful enough. When mingling with these geisttiere, Owen Fu employs varied linework as a vocabulary for chitchats. In his small-size paintings, a vase, or a teapot could become animated by charcoal lines and metamorphize into amicable or cunning avatars. These lines carry no intention to reify anything into concrete figures, yet it is within their “aimlessness” and “inaccuracies” that the transmutations of emotions take place: the painter casts the line with no particular aim, and his subjects willingly leap out of his memories and psyche to land onto the canvas. These “voluntary catches” are fragments of the artist’s genuine lived experience. Language is always inadequate:; the passing and accumulation of time blur certain experiences and reactions, but as the imprecisions manifest in the painting, they also create space for reinterpretations and evolve the artist’s initial feelings.

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