Tong Wu’s Fusion of Myth, Pop Culture, and Postmodernism

A Chinese artist now living in London, Tong Wu explores the nuanced relationship between people and modern societal trends. Drawing on his dual heritage of Eastern and Western thought, he weaves together pop culture, social media, and postmodern philosophy into his art. His paintings are often based on this cultural blend, and they challenge viewers to dig a little deeper than surface interpretations.

From ancient Greek and Chinese mythology to cartoons and video game characters, his art is a striking fusion of imagery. A playful display hides a deeper message about life today. Wu uses familiar symbols to engage us in a broader discussion about identity in the postmodern world.

A key aspect of Wu’s work is his exploration of postmodern subjectivity, particularly how digital images and diverse cultural influences shape our perceptions of ourselves. In creating his layered worlds where the past meets the present, and reality blurs with fiction, he draws inspiration from Renaissance art, ancient myths, films, and literature. Throughout his paintings, he explores modern identity and the increasingly blurred line between what’s real and what’s simulated in today’s society.

Medusa’s Refutation, a standout painting, shows Wu’s ability to combine seemingly unrelated symbols into a unified narrative. While a Maneki-neko (the waving fortune cat) watches nearby, a figure in a Gundam suit holds Medusa’s head. A photographer appears off to the side of the scene, suggesting it might be staged or digitally altered, despite the scene’s combination of cuteness and unease against a backdrop of flames or lava, hinting at looming danger. This idea is furthered by an angel in a VR headset, highlighting Wu’s fascination with the way technology shapes our perceptions of the world.

Many of Wu’s pieces are influenced by Jean Baudrillard, a postmodern theorist who writes about simulation and hyperreality. According to Baudrillard, simulations often replace the real in postmodern society, so the fake feels like it’s more real than the real. Using this idea, Wu creates scenes where simulation and reality don’t really exist.

In another work, Model One, Wu paints not a real cat but an anatomical toy model of one. The flowers in the painting are vivid but unnervingly shiny, hinting that they, too, might be fake—perhaps made of plastic. Yet, Wu’s detailed brushwork gives these synthetic objects a sense of authenticity, prompting viewers to think about how consumerism packages nature itself as a commodity. This piece touches on Wu’s larger critique of materialism and how consumer culture influences our perception of what’s real.

In an interview, Wu said his work draws viewers in by creating a tension between what’s familiar and something just a bit off. The tension sparks curiosity, which makes people think about everyday symbols from a different perspective. Wu makes surreal, dreamlike visuals by blending pop culture with classical mythology and digital-age elements.

It’s not just flowers, trees, and organic forms in Wu’s paintings, though they’re often exaggerated or used symbolically. These natural elements anchor the viewer in something recognizable, even as Wu twists them to make us think twice. They hold a deep cultural meaning across many traditions.

Wu plans to keep exploring virtual reality and mixed media as a way to explore postmodernism and pop culture in the future. Through his work, he continues to explore the intersection between reality and simulation in the digital age, moving beyond conventional art forms.