Haige Wu is a dynamic artist, specializing to depict cultural stories blending traditional techniques and materials with contemporary methods
Haige Wu is an artist, illustrator, sculpture and painting, who explores topics of identity, feminism, and regional culture by fusing traditional skills like carpentry, glass art, rock painting, and lacquer painting with modern approaches. In 2016, she entered the Guangzhou Academy of Fine Arts and in 2021, she moved to London to pursue a master’s degree in Fine Arts at Central Saint Martins. She realised that through art she could achieve a life journey of self-healing and a tool for dialogue, by reflecting on her personal experiences and surroundings. She demonstrates how old craftsmanship can flourish in the modern world by fusing traditional methods with cutting-edge concepts. Her artwork reflects on parallels, creating a balance between the old and the new.
In her body of artworks, combining interviews and research where she collects data and ideas that are then analyzed and patiently and conceptually presented to the audience, she also included the dual perspective of both participant and observer, due to being able to tell stories influenced by multi-generational traditional values and modern shifts. She turns her observations and study into abstract, fascinating narratives. Even if Haige Wu depict stories set against the backdrop of personal experience, she provides her audience with an introspective experience as she considers the significance of legacy and cultural transmission between generations using a variety of media, this has led her to focus more on the innovation and use of creative materials. She is currently London based.
Haige Wu’s official site | Instagram
Could you tell us a little about yourself and what prompted your interest in the field of art? What are your earliest childhood memories related to art?
I am an artist and illustrator based in London, with a Master’s degree in Fine Arts from Central Saint Martins, University of the Arts London. My work primarily revolves around sculpture and painting, integrating traditional techniques such as metalwork, lacquer painting, and woodworking with contemporary approaches. Through these mediums, I explore themes of regional culture, feminism, and identity. I have loved drawing since childhood—it has always been a source of peace and healing for me. My family supported my artistic journey early on, and at the age of eight, I formally embarked on the path of an art student. One of my most cherished childhood memories is receiving a book titled 1,000 Masterpieces of World Art from my parents, which I read so many times that it eventually fell apart. Over the next decade, I traveled across different cities—Shenzhen, Beijing, and Nanjing—pursuing my artistic education. In 2016, I was admitted to the Guangzhou Academy of Fine Arts, where I was introduced to contemporary art and trained in various traditional crafts, including lacquer painting, lampwork, and woodworking. Looking back, my artistic journey has been both enriching and exhilarating.
What about your beginning? What were the main challenges and how did you overcome them?
The first ten years of my artistic education were relatively smooth. I demonstrated both talent and perseverance, and with the support of my family, I was able to achieve my goals step by step. However, transitioning from East Asia to London had a profound impact on my artistic development. In China, my training was more focused on technical skills and producing cohesive works, whereas in the UK, the emphasis shifted toward self-expression and conceptual thinking. This contrast reflects not only the differences between artistic environments but also my personal evolution as an artist. I have chosen to stay in London for the next three to five years because of its dynamic cultural scene and well-established art market, which continuously challenges me to push my creative boundaries. Currently, I am actively engaging with the local art scene through exhibitions, competitions, and various artistic projects, striving to establish a meaningful dialogue with the market here.
Like a tree with a sturdy trunk and impromptu branches, her creative process is both disciplined and adaptable. Inspiration, drawing, experimenting, and execution are the main steps in her process
What inspired you to explore such a wide range of traditional craft techniques, and how have they informed your current focus on innovative materials?
Studying traditional craft techniques has taught me that preservation is not just about keeping traditions alive but also about finding new ways to apply them. This is why I enjoy experimenting with different materials, paying close attention to their color, texture, and how they interact with one another. I want my materials to feel organic, as if they are naturally growing rather than being forcefully assembled. By integrating these methods with contemporary concepts, I aim to showcase how ancient craftsmanship can thrive in today’s world. I am particularly fascinated by the contrast and interplay between opposing elements, and I love combining them in unexpected ways. For instance, felt has become one of my favorite materials. It softens the visual rigidity of harder materials like metal and wood, creating a harmonious balance. At the same time, felt is strong and durable, aligning with my ongoing exploration of resilience and gentleness in my work.
Can you share with us an example of how experimenting with materials transformed a specific piece of your artwork?
In my sculpture series Sweet Home, I used a felt molding technique that required two months of material experimentation. My goal was to achieve a strong textural presence while maintaining a sense of lightness in form. At the time, I had already designed the initial structural framework, but I kept testing different thicknesses of felt, altering their arrangements, layering patterns, and fragment sizes. I repeatedly assessed their hardness and durability through numerous trials until I achieved the effect I envisioned—an ethereal, smoke-like form wrapping around the central structure. This process completely transformed my previous experience with felt as a material. Though it was time-consuming and complex, I was highly satisfied with the result, as it allowed me to push the boundaries of traditional felt-making techniques.
Your artworks include sculpture and painting. Which challenges did you experience in combining different art media approaches, and how have they influenced your artistic path and view of the world?
One of the main challenges has been balancing a structured creative process with the freedom of spontaneous experimentation. Early in my practice, I was highly focused on technical precision and historical accuracy, which strengthened my craftsmanship but sometimes constrained my creative flow. Over time, I learned to embrace a more organic approach—maintaining discipline while allowing moments of exploration. When working on major projects, I often give myself permission to momentarily step away and engage in smaller, experimental detours. These creative “breaks” serve as both a form of relaxation and a way to discover unexpected possibilities. Interestingly, these side explorations often evolve into independent works, leading me to produce more than I originally envisioned. This dynamic process has shaped my artistic path, reinforcing the idea that creativity thrives in the space between structure and spontaneity.
In your body of art you focus on feminism, regional culture, and self-identity. Can you share a particularly impactful experience that deeply influenced your creative process?
My exploration of these themes is rooted in my personal upbringing. I was born in Meizhou, Guangdong, a region with a strong Hakka cultural heritage. The Hakka people have endured historical migrations, adapting and integrating with local communities while preserving their dialect, customs, and unique architectural traditions. However, I spent most of my life in Shenzhen, a global metropolis driven by technological advancement. Growing up amidst the contrast between a deeply traditional heritage and a rapidly modernizing world profoundly shaped my perspective. Whenever I returned to my ancestral home for family gatherings, I found myself alternating between the roles of participant and observer. I became increasingly aware of the resilience of Hakka women—diligent and courageous—who navigated the constraints of patriarchal traditions while asserting their strength. These experiences fuel my artistic inquiry into the intersection of gender, culture, and identity.
In your artwork, you explore the intersection of feminism and regional culture. How do you abstractly convey the stories you collect while preserving their emotional depth? What challenges have you encountered in blending regional identities with global conversations on gender and identity? Are there specific cultural nuances you strive to preserve or reinterpret?”
Much of my sculpture is inspired by the lived experiences of women within specific cultural contexts. My works explore themes of family dynamics, spiritual traditions, and inherited values. I frequently use organic materials, soft color palettes, and spider-like forms—symbols often associated with femininity. Additionally, objects from traditional architecture and customs are distilled into simplified elements within my sculptures, preserving their original symbolism while integrating them into contemporary artistic narratives. Even the orientation and spatial arrangement of my sculptures follow the underlying stories that inspire them, revealing layers of meaning upon closer examination.
One of the greatest challenges in this exploration is finding a balance between tradition and modernity—ensuring that my work resonates both conceptually and aesthetically. This challenge mirrors my approach to material experimentation: I strive to create forms that evoke interest and emotional connection rather than merely presenting historical narratives. As an artist, my priority is to evoke emotion and intrigue, inviting viewers into the world I construct, where they can explore and discover their own interpretations.
Your artwork features abstract and soft presentations of personal and cultural narratives. How do you hope viewers interpret or interact with these layers of meaning? How do you balance accessibility and complexity in your art to ensure diverse audiences connect with it?
Viewers often recognize elements such as paper-cutting motifs and candle-like forms in my sculptures, which naturally evoke associations with Eastern traditions, femininity, and rituals. For me, this recognition alone is enough—I don’t seek to provide direct explanations but rather to spark curiosity and reflection.
My sculptures are often large in scale yet visually lightweight, with rigid lines softened by delicate fiber materials, reminiscent of a fetus cradled in the womb. If possible, I invite viewers to physically touch some of the softer materials in my work, allowing them to experience warmth and emotion through tactile interaction.
Geometric shapes frequently appear in my pieces, drawing inspiration from both traditional architecture and nature. I believe there is a timeless connection between nature and modern life, just as regional cultures evolve while retaining their core significance. This is the essence I hope audiences from different cultural backgrounds can perceive—an interplay between the past and the present, the local and the universal.
The theme for International Women’s Day 2025 is ‘Accelerate Action.’ What actions should be prioritized to strengthen support systems for women, particularly in marginalized communities, to help them thrive both personally and professionally?
From my perspective, strengthening support systems for marginalized women requires a holistic approach that begins with expanded access to education and skills training—bridging traditional arts with modern professional opportunities. Mentorship and networking programs led by inspiring role models are essential for building safe spaces where women can share experiences and gain guidance, empowering them to forge their own paths.
In my hometown, I have observed firsthand how cultural outreach and educational opportunities significantly impact the development of Hakka women. Many remain confined to their mountain villages and need more opportunities to break free and engage with broader social and professional networks.
Photos and images courtesy of Haige Wu
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