Blending zhiguai, pop culture, and personal fable, Ding Shilun’s paintings explore misreading, narrative, and the power of images.
The first time I came across Ding Shilun’s name was in 2022, when Artnet China published a series spotlighting overseas art graduates. Three years later, I learned that his 2021 work The Adoption of the Maiden sold for £114,300 ($151,519) at Phillips London—smashing its presale estimate of £20,000–30,000 and setting a new record for the artist.
Ding’s career is rapidly gaining momentum. Right now in Zurich, his third solo show with Bernheim Gallery, “Spectres in Rehearsal,” is currently on view. Across four large-scale paintings, Ding constructs a highly theatrical visual system, orchestrating figures as a puppeteer might. The works combine Goya-esque compositions, populated by monster-like figures from popular culture, expressions influenced by Japanese manga, and narrative structures reminiscent of Chinese zhiguai tales. At the same time, everyday details and objects in the paintings make it easy for viewers to connect with and relate to the works.
Ding (b. 1998) grew up in a family with a strong artistic background, but his formal training began in college. He studied oil painting at the Guangzhou Academy of Fine Arts, where his graduation work focused on historical subjects. At the time, “major historical painting” was more likely to receive institutional support and was considered a legitimate path, in line with long-standing traditions in Guangdong province.
But, Ding said, “I was never that interested in this kind of mainstream historical narrative.” It is often very heroic. I wanted to look for the parts that are not told in that way.” This led him toward more open image-based experiments.
A six-month exchange at Slade School of Fine Art brought him to the UK, marking an important shift. He realized that his earlier figurative language depended on a specific cultural context. Once removed from it, he began asking: “How do I explain myself? How do I translate effectively?” This pushed him to rethink painting as a medium.
He later continued his studies at the Royal College of Art. During the pandemic, working on small, quick pieces in his own room laid the foundation for his later practice. When he returned to a proper-sized studio and resumed large-scale paintings, his work changed significantly, with more figures appearing in more complex narratives.
“When I started working within a stronger narrative framework, I had to face one question: narrative itself is a form of power. How should I deal with that power?” Ding said. He does not want to directly explain his work. “Most of the time, I try to find an entry point into a story or a piece of history, then understand its structure and how it connects to me.”
