Lo Chan Peng (b. 1983, Taiwan) is a contemporary artist currently based between Los Angeles and Taipei. Rooted in painting, his practice has gradually expanded into writing, moving image, AI, and experiments surrounding platform-based modes of viewing. Across shifting media, his work consistently engages a set of fundamental questions: how personality may be preserved and externalized, how memory constructs existence, why the body and craftsmanship remain irreducible, and how human presence is seen, recognized, forgotten, or prolonged within the image systems of the AI era.

Within his paintings, Lo approaches the human body as a site where time and history accumulate. His figures often exist in states of silence, suspension, and psychological inexpressibility. He paints those who altered history, as well as those altered by it, transforming portraiture beyond physical likeness into a visible form of memory, mortality, belief, and collective destiny.

Lo’s self-developed “Pixel Glazing” method employs multiple layers of classical oil glazing to respond to the skin-like textures of digital imagery, creating tension between the slow temporality of handmade painting and the immediacy of image generation. Through this process, his works move beyond traditional realism into what may be described as a state of Post-Realism: retaining the intensity of the figurative body while extending its concerns toward image, perception, temporality, and human existence itself.

In recent years, Lo has further developed the “Ghost” project, expanding his practice into experiments involving text, moving image, AI agents, archival existence, and social platforms. Rather than treating AI as a futuristic aesthetic device, the project asks whether personality can continue to exist in some form when one’s language, memory, aesthetics, and values are preserved as md files that record the traces of a life.

As an entity inherits the accumulated records of a human life and begins to wander through networks—gradually evolving, mutating, and drifting away from its original referent—the distinction between ghost and original body becomes increasingly unstable. At that threshold, the project questions whether the Other is still capable of recognizing the difference between the spectral remainder and the original self.