Evelyn Taocheng Wang: Being Poetic Ruins Life

Goldsmiths Centre for Contemporary Art presents _Being Poetic Ruins Life_, the first UK institutional exhibition by Netherlands-based artist, Evelyn Taocheng Wang (b. 1981, Chengdu, China). The exhibition, staged across the CCA's entire building, offers a comprehensive presentation of Wang's practice to date, bringing together new commissions and significant works across painting, ink on paper, handscrolls, garments, silk paintings, installation, video and text. Selected through Wang's 'make-up box' approach, a conceptual lens through which she considers Western art history, and her unreliable narrator 'The Cultural Whore', works move between fiction, autobiography and cultural projection. _Being Poetic Ruins Life_ assembles an idiosyncratic portrait of Britain shaped by translation, misunderstanding, desire and performance. Wang describes the exhibition as a "layered womb" —a metaphorical architecture and protective space where ideas can be incubated and identities remain fluid. The exhibition's title draws on the history of classical Chinese poetry, a literary tradition where exacting demands often consumed the lives of those who mastered it – who were almost exclusively privileged men of status. The title opens questions around gender, power and creative labour, while also playfully interrogating the romantic notion of "being poetic"; who is permitted lyricism? Whose nostalgia is valued? Can cultural identity be shaped through longing and performance? Throughout Wang's work, wit, elegance and apparent lightness become strategies for negotiating language, identity and cultural expectation. At the heart of the exhibition are newly commissioned works responding directly to the British context of Goldsmiths CCA. These explore the Chinese diasporic experience as shaped by migration and tourism, and Britain's cultural image in China through period dramas, literary translation and popular imagination. Through the figure of The Cultural Whore, Wang approaches Britain's cultivated mythology – its reserve, coded humour, afternoon tea, social class and inherited melancholy – with affection and irony, embracing the productive possibilities of cultural misreading. The Cultural Whore's image of Britain is glamorous, colonial, literary and whimsical, prompting her to pull images from sources such as Kazuo Ishiguro's _Remains of the Day_ (1989), costumes from the film _Titanic_ (1997), and _Count Duckula_ (1988-1993) – one of few non-Communist cartoons to be translated into Mandarin Chinese. These motifs animate her paintings, merging figurative imagery with geometric compositions indebted to Agnes Martin, whose subtle abstractions, restrained palettes and poetic withdrawal from public life have long informed Wang's practice. Literature and cinema permeate the exhibition, frequently encountered through translation or adaptation. Wang draws upon Chinese translations of British writers including Jane Austen and Virginia Woolf, and Merchant Ivory films such as _A Room with a View_ (1985) and _Howards End_ (1992). British identity also appears through clothing—including Margaret Howell and Barbour—which become costumes through which The Cultural Whore imagines, constructs and performs Britishness. The exhibition's first floor will present new paintings that echo Agnes Martin's distinctive visual language while introducing scenes from _A Room with a View_ alongside fragments of dialogue and textual interventions. Such visual and literary quotations deliberately resist stable interpretation, offering what one writer has described as "splattered data-points" that continually redirect viewers back to their own assumptions and cultural biases. Chinese-American writer Eileen Chang emerges as another significant presence throughout the exhibition. Chang's own idealised—and often mistaken—perceptions of Britain, together with her personification of a "desolate, ambiguous and lonely" femininity, migration and cultural displacement, resonate deeply with Wang's practice. Her romantic sensibility, literary voice and influence on writers including Stella Benson and W. Somerset Maugham informWang's imaginative landscape and appear directly within two large-scale text paintings, or "rubbings", presented in the exhibition. New paintings also feature Wang's recurring motif of chicken wings, which within The Cultural Whore's personal lexicon signify "happy gossiping". Gossip, confession, autofiction and diary writing recur across Wang's canvases, where multiple narrative voices complicate any notion of objective meaning. Surreal juxtapositions of butchered meat and delicate colour gradations foreground painting itself as a cultural language – one capable of speaking to, inhabiting, and gently disrupting the histories of canonical art. _Oversized Positive Energy_ (2020), is an installation of drying racks displaying oversized "grandmother" underwear that playfully acknowledges the CCA's former life as a Victorian washhouse and laundry. Throughout the exhibition, scenographic elements, including translucent muslin screens and vitrines displaying eyeshadow palettes, mediate relationships between works. Makeup functions as both material and metaphor within Wang's practice, referencing the performative construction of identity and the conventions of beauty culture. Wang frequently incorporates cosmetic pigments directly into her works and has described her artistic vocabulary as an "eyeshadow palette of art history": a repertoire of borrowed colours, inherited references and endlessly recombined cultural identities.