BEIJING.- Gao Xiaowu (born in 1976 in Fujian, China) is one of the most prominent contemporary sculptors in China. His works, known for their sharp social insight, satirical humor, and profound spiritual inquiry, have continuously sparked dialogue across the international art scene.
Gao grew up in the rural countryside of Fujian, was nurtured from an early age by nature and folk culture. During his childhood, his grandmother’s paper-cutting, his parents’ intricately carved traditional wedding bed, and folk activities such as the “Bench Dragon” organized by his clan during festivals all became his earliest aesthetic influences. “All the toys I had as a child were handmade by myself,” he recalled. “The joy and freedom of creating in that way continue to influence my work to this day.” Later, he majored in sculpture at Xiamen Academy of Arts and Crafts, where he received systematic training in Western realism, yet his heart always longed for the subtlety and poetic spirit of traditional Chinese Buddhist statues and Han Dynasty pottery figurines. In the early years after graduation, his work creating urban sculptures and Buddhist statues for a living further honed his craftsmanship and deepened his understanding and appreciation of Eastern aesthetic methodology. In 2003, he moved north to Beijing to immerse himself in contemporary art practice.
Standard Age Series (2004)
Launched in 2004, Gao Xiaowu’s Standard Age series quickly captured public attention with its exaggerated, small-scale human figures and distinctive figurative sculptural language. Created during his studies at the Central Academy of Fine Arts, the series was completed in a rented studio during his spare time.
To organize an exhibition, Gao personally carried photos of his works to Beijing’s Jianwai SOHO, where—starting with a conversation with a security guard—he was gradually introduced up the management chain. Eventually, he gained approval to hold his first solo exhibition in the outdoor public space, which became a widely discussed artistic event at the time.
“I had no media connections then; the works had to speak for themselves,” Gao recalls. “I was fortunate that the series resonated so strongly with people.”
While humorously portraying everyday life, the series also reflects a deeper contemplation of social “standardization.” As art critic Lu Rongzhi from Taiwan noted, Gao’s smiling demeanor and genuine kindness are mirrored in his sculptures—imbued with warmth, humor, and quiet resilience in the face of life’s pressures.
After Standard Era became popular, it faced widespread plagiarism and piracy. Gao Xiaowu initially felt helpless, but he gradually adopted a more rational perspective and became one of the earlier contemporary Chinese artists to actively advocate for intellectual property protection.
“Piracy made me realize that my work had entered the public eye, which is a complex form of ‘recognition,’” he said. “But an artist’s responsibility is to safeguard the purity of their creation.”
"Forbidden City" series carries symbolic memories of imperial power, filled with mystery and allure. By portraying contemporary "Beijing drifters," the works capture their relentless pursuit of success while subtly reflecting the disillusionment and hardships of reality.
About Fate Series, We all have genes that cannot be controlled by ourselves but are set and decided in advance just like our lives. Since born, we are always in a “huge vat” called society until death and we have to accept invasions and questions everywhere. Therefore, living means being “dyed”, becoming “chromosomes” and then being passed on just as genes.
Originally created for the 2011 Venice Biennale parallel exhibition, the "Fate" series was eventually displayed at Today Art Museum in Beijing. Drawing inspiration from interpersonal relationships and life experiences, the works explore the subtle connections and emotional entanglements between people. Gao uses the image of a cute, pure baby protected by curtains to reflex the disguise in early exhibitions, power and invisible destruction of soft violence in the society, the growth of the baby meaning the imperfect process of suffering and protesting against soft violence;
Falling Asleep Series (2007)
This series is both a poem and a performative declaration: in the reality of contemporary society, art may become an outlet of “sleep” and “intoxication,” allowing people to transcend time and space, embrace tranquility, and savor love and romance. It is at once a critique of social reality and a yearning for an ideal world.
Shared Environment Series
Shared environment means the state of sharing and mutualism. Every object in the universe is interacting with each other, and depending on each other. The existence and development of every life is the accumulation and gathering of numerous karma. Hence, seeing is not necessarily true, which means not to be overly obsessed with the recognition of the appearance of things, but to focus the integrated causes and conditions that are closed related with what you see, therefore, to reach the realm of me in you, and you in me. Only in this way can we arouse the power of inner peace, and then get along with the world better!
Gao Xiaowu explained: “What we see with our eyes is easy to perceive, and we tend to think that is the truth. But our perception is very limited. By creating this fusion between animal and plant life, I want to show everyone that we should not confine our view of the world to a narrow perspective. We need to understand life from multiple angles—that is where true love in the heart comes from.”
If Gao’s early works channeled personal experiences and emotions, his latest “Rebirth” and “Shared Environment” series, born from his epiphany gained from Buddhist philosophy since 2013, mark a pivotal breakthrough. Gao expands his contemplation of life to embrace all beings. By fusing organic motifs like fish, deer, tortoise, crane, dragonfly, and peach blossoms, he deconstructs contemporary challenges without aggression through a mild and benign approach. His whimsical sculptural language reveals a rational meditation on human-nature harmony, extending an open invitation to “call upon the rebirth of primitive nature”. Profoundly projecting to the Chinese society, the art of Gao continued journeys to the whole world.
The Philosophy of Art and Life
Gao Xiaowu’s art has always been rooted in personal experience and philosophical reflection. He often says, “The present moment is the essence of life. Dreaming is my profession.” In recent years, he has placed increasing emphasis on “living in the now” and “maintaining an open mind,” believing that “only when you care less about yourself can true creativity emerge.” He summarizes: “Art is not merely a form of expression—it is an extension of life. Through sculpture, I hope to awaken people’s reflection on the essence of life—there is you in me, and me in you; that is the truth of coexistence.”
Portrait of Gao Xiaowu — Photographer: Chen Jigeng
As renowned Taiwanese art critic Lu Rong notes, “Gao Xiaowu’s art possesses the serene temperament of the East while speaking in a contemporary language that resonates with audiences worldwide.”
Today, Gao Xiaowu’s works have been exhibited in major institutions across Asia, Europe, Americas and Oceania. His practice not only reflects the social landscape of our times but also offers audiences worldwide a window into the future of individuality, spirituality, and civilization.
