展览名“未来罪行”即来自于大卫·柯南伯格经典的同名电影。电影中柯南伯格对于异形和人文未来主义的形态与空间的关注与吴凌昊所关注的话题有着密切的相关性。作为“Z世代“的艺术家深刻体会到从“全球化”到“后疫情”的激烈转变，这种生活如同电影般的转变和不确定性让当下个体难以分辨感知的虚实，从而将这种生活感受产生各种各样混乱的状态呈现于画面中。同样在作品中反复出现的拟人态的有机体仍然保留类人的特征，某种由虚拟材料组成的形象在艺术家建立的独特空间里经历着自我和社会形态之间的矛盾和冲突，在有粗野主义风格的背景中并置形成吴凌昊想要表达的独特审美。
Titled "Crimes of the Future," Cronenberg’s exploration of metamorphosis and humanistic futurism resonates deeply with the themes that Wu Linghao engages with. As part of the Gen Z generation, Wu has lived through the significant shift from globalization to a post-pandemic world. This cinematic-like transition, marked by uncertainty and upheaval, has blurred the boundaries between reality and virtual perception. In response, Wu’s paintings convey a sense of chaotic experience. The anthropomorphic figures that frequently appear in his works retain human-like traits, yet are composed of virtual materials, grappling with tensions between individual identity and social constructs. Set against brutalist backdrops, these images manifest the distinctive aesthetic Wu seeks to communicate.
吴凌昊善于将未来主义的线条加以构建，以一种机械式的构图引起观看，这种刻意构图既是作品引出思考的一种方式，同时在画面中营造了一种和感官相矛盾，自我调侃的幽默感。这种感受再次可以引申到同样是专注于未来主义的导演库布里克作品的影响——刻意营造幽默以及运用有迷幻属性的色调。另一方面，这种构建感在概念上呼吁了吴凌昊想要进行跨学科创作的意图，最终形成艺术家独特的艺术语言。这些画面中的形态也并非毫无根据，比如“发条橙“，“全金属外壳”，艺术家通过提取培根代表性作品中异形的姿态，二次创作在新的绘画中。
Wu Linghao excels in crafting futuristic lines and employing mechanical-like compositions, intentionally drawing attention to his work. This deliberate structure not only invites viewers to reflect but also infuses his canvases with a sense of humor that contrasts with the sensual perception at first sight, often carrying a self-deprecating tone. This approach can be linked to the influence of Stanley Kubrick, whose works also focus on futurism, blending humor into his film works and an often presence of psychedelic color palettes. Wu’s compositional style reflects his interest in interdisciplinary practice, finally forming a distinct artistic language. The forms in his paintings are not arbitrary. For instance, in works like A Clockwork Orange and Full Metal Jacket, Wu draws inspiration from the metamorphic figures in Francis Bacon’s iconic pieces, reinterpreting them through his own visual language.
电影和文学的影响，让吴凌昊青睐于绘画创作也是某种导演式的作品，这种画面中独特的空间世界是艺术家希望最终建立的某一“系统”，通过观看这种“系统”，保留一种镜面式的反思。
The influence of film and literature shapes Wu’s process, making his approach to painting akin to that of a director crafting a scene. The spatial worlds he creates form intricate “systems” where each canvas acts as a mirror, offering a reflective experience for the viewer.
