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It is a peculiar task to describe Leon Xu’s work. Perhaps it is easier to start with what it is not doing. These are not paintings of crowds or figures, but of experiences that feel too blurry to be near, too close to be real—too real to be vicarious. They don’t appear as much as they linger, declare as much as they hum. These are pictures of nothing, in particular.
I wish I could explain my fascination with Leon Xu’s paintings by referring to the great, bygone masters of light and shadow, only I know very little.