Luo Xiaoshu is a Chinese glass sculptor in the second generation of Chinese glass artists and studied under the father of The Chinese Contemporary Glass movement, Zhuang Xiaowei. After studying fine art oil painting and fresco at
Luo is strongly influenced by Twentieth Century Western art which he studied in his first Fine Art degree at Hubei Universty in
Luo’s works, from his Birdy series to the recent Antique Figure series, explore the human being geometrically and abstractly. Luo cares deeply about the human experience, and specifically, the Chinese experience. He examines man’s status in society in Dignity of Han official, and Figure of Antique Chinese during Tang Dynasty and questions the viewer about it.
His portraiture of men in history is his way of questioning the status of early Twenty-first Century human beings. What is status today? What is the effect of time? Has the relevance of status changed over time?
Luo’s earlier glass work, Me?, is a simplified form of a human face in dark green transparent glass. Luo purposefully expresses simplicity with a curve of the left side of the face and set free on the other side by a lack of definition. The little mouth, long nose giving an axis to the face and strong eyebrow lines are elements that we can also find in his later works Birdy I, and Birdy III.
In his recent works, the artist examines Chinese history through impressively tall sculptures of human figures full of dignity. This is in comparison to the Birdy series where volumes are flattened to become large geometric areas superimposed on one another. It articulates volumes of Cezanne’s meaning in his sentence: “Layers are falling one to the other.”
Since 2008, the artist shows the full body in two series: Human Body series and Antique Figureseries. This latter series focuses on clothing. Luo explains that clothes were standardized during the Han dynasty. Clothes are a way to explore layers. In the Dignity of Han Officials, the clothes, the large tint area, the majestic knot on the chest is all an expression of the dignity and pride of Chinese traditional roles and history. Monumental and elegant, this sculpture is also infused with mystery with the absence of a face, extremely simplified man who seems to be observing and smiling on the modern man. The choice of colours, dark amber and smoky grey, plays with transparency and light to create a dreamy atmosphere, calm and pure.
What do you know about Tang dynasty women? In
Since he started creating glass sculpture, Luo has pushed his boundaries further than its technical limitations. “Limitation of the material is also its beauty” says Luo. He refines this artistic language of light, shadows and colours; breaks free from detail, time and space layers covering people and things to distil the purity of form and the pure nature of things.
Today, Luo possesses everything he needs to create strong, expressive as well as sensible and touching artworks.
 Me ?, 36x28x17 cm, 2005, casting.
 Letter from Cézanne to Emile Bernard,
 Dignity of Han official, 80x27x12 cm, 2009, casting
 Figure of Antique Chinese during Tang Dynasty, 93x46x16 cm, 2009, casting.