Introducing ACCA JOURNAL Digital Art Cover 2025

BY ACCA 

Matthew Wang is a London - and Los Angeles-based interdisciplinary artist. Before he relocated to the UK, he spent many years in California working as both a studio artist and an investor. His creative language spans painting, sculpture, installation, and animation, through which he explores the intersections of emotion, humanity, and history. In 2025, he earned his Master’s degree from the Royal College of Art in London, one of the world’s most influential art institutions.

At the core of his practice is an exploration of the evolving relationship between the digital and the physical. He challenges traditional hierarchies in both physical and metaphysical realms by integrating technological and unconventional tools into the process, allowing for a more instinctive and emotionally driven form of expression within a mixed-media context. In the time we live in, where digital tools are just as important to creation as paint brushes, Matthew sees every instrument, whether a hammer or artificial intelligence, as equal. For him, as long as one’s mind remains open and unrestrained, anything can become art, and powerful work can emerge from any medium, big or small, simple or complex. He positions himself as both a creative builder and a disruptor, redefining the principles that shape the contemporary art landscape today.

By merging the flexibility of digital media with the physical presence of traditional materials, his work often creates a dialogue between past and present, the real and the virtual, the physical and the spiritual, reaching into realms that science and physics cannot fully access. It is at once deeply personal and socially responsive, reflecting inner emotion while engaging with the complexities of contemporary life.

“The kiss Choco” is a contemporary reimagining of Klimt’s The Kiss, recontextualized within a speculative, fantastical framework. It was first sketched out digitally, then meticulously hand-painted in multiple layers onto a plywood panel cut into the shape of a giant chocolate bar—serving as a reflection of today’s mass-produced, fast-paced, and fleeting capitalist lifestyle. A combination of standard and fluorescent acrylic pigments was applied to mimic the flat, brightly saturated aesthetics of the digital age, while still allowing the subtle, tactile quality of the wooden texture to remain visible.

By drawing on symbolism and reimagined motifs, he creates a cross-century dialogue that bridges the worlds of Art Nouveau and digital culture. The rectangular shapes on the left are reimagined as pixels and glitches, while the halos on the right draw inspiration from electrons, signifying a connection that transcends the material realm. In the background, gold-leafed hands embrace the two avatar-like, abstracted figures, suggesting a spiritual destiny bound by the love of the universe. Together, these elements construct a dreamlike, virtual space that contemplates the notion of non-physical intimacy. In an era defined by hyper-connectivity and curated digital identities, the work reflects on how romance and affection are increasingly mediated through electronic devices.

In Klimt’s original work, the female figure turns away from the kisser. However, In this reinterpretation, she is depicted holding the man’s face, taking on an active role. This shift in composition challenges traditional gender dynamics, addressing themes of agency and equality, while reflecting on how intimacy is negotiated in a world shaped by technology, hyper-accessibility, and consumerism.

"The Kiss Choco" is more than just a reinterpretation or a playful nod to the many spinoffs of an iconic piece; it’s a deeply personal expression of how the artist navigates and challenges the intersections of tradition and modernity. Beneath its decorative, derivative appearance is a transcendent work, imbued with layers of profound and far-reaching meaning. It explores the tensions between human emotion and technology, as well as physical presence and digital intimacy. This piece marks a pivotal chapter in his practice, where concept, material, and personal narrative converge. 

This is one of his pieces that was born out of his experience living between cultures, carrying forward the spirit of Klimt but also completely belonging to the modern world. What makes this work special is its ability to hold multiple contradictions simultaneously: nostalgic yet futuristic, handmade yet digitally inspired, intimate yet public. The act of hand-painting this digitally conceived piece, which carries multiple meanings, merging traditional craftsmanship with fluorescent, screen-like colors, is a meditative resistance to the speed of today’s world.

The work, which has received recognition from HAP,  stands out not only for its aesthetic and conceptual ambition but also for its relevance to the emotional and cultural challenges we face today. It confronts critical questions: What becomes of human intimacy and emotional depth when our affection and communication are filtered through the circuitry of digital spaces? Can art rekindle a sense of the sacred, a quiet spirituality, in a world drowning in noise, data, and distraction? In an era where connection often feels fragmented and fleeting, his work invites viewers to pause, to sense again the tenderness, complexity, and enigma that lie at the heart of human relationships, even when shaped and mediated by technology.

W.O, 2025

Acrylic, plywood, 122 x 64 cm

How would you describe your visual language to someone seeing your work for the first time?

On the surface, I guess my work could be described as expressive portraiture set in a fantastical framework, inspired by reflections on the contemporary society and personal experience. But on a deeper level, I don’t wish the viewers to pay too much attention on who painted them . I want them to look beyond the maker and instead search for themselves within the work.

If something in the work speaks to you, take it in, use it with your own imagination. Let it help you reflect on your own life. This isn’t just about me. I made it for you, too.

I believe all things on this planet are connected spiritually and mysteriously. everything I’ve ever create is grounded in that shared human experience.

Art inspired people to explore human creativity and expression. Do you think the digital medium is more geared toward exploring innovation, or is it equally suited to expressing personal emotions?

That’s a great question. Honestly, I don’t see a huge difference between digital and non-digital mediums. It really comes down to how you use them. If you see them equally as tools, they can be used interchangeably to express personal emotions. I doodle and journal the same way on my iPad as I do on paper. As someone who works a lot with mixed media, I get excited by playing around with computer programs I’m not familiar with, just to see how far they can take me. There’s something undeniably appealing about seeing and touching the texture of a physical artwork, but at the same time, I’m really drawn to how flexible and transformative the digital medium can be. It’s both a threat to the continuity and a game changer. Every now and then, somebody comes along and opens a kind of Pandora’s box, suddenly the old rules and structures start to collapse. We like to call it innovation, but really, it’s just history repeating itself in a new form.

What drew you to contemporary art in the first place, and how has your artwork evolved since you moved from California to London?

I started painting when I was about 4. I learned to paint really realistically and won a bunch of awards as a student. But everything changed when I came across artists like Andy Warhol, Jean-Michel Basquiat, and David Hockney. They made me realize art could be anything—conceptual, emotional, or messy. That’s when I stopped worrying about rules and just started painting from instinct. Since then, it’s been all about unlearning, experimenting, and trusting myself.

Moving to London definitely pushed me to see the world and my art with fresh eyes. Especially at the RCA, I had to collaborate with people across disciplines, like filmmakers, product designers, and even dancers. It scrambled my brain at first, but ultimately challenged me far beyond my comfort zone.  I also spent a lot of time in self-exploration—reading, writing, and documenting. The whole process really helped me get more confident and assertive in my decisions, and propelled my practice forward with a much more fearless mindset.

I’ve heard when you were a child you had quite a bit of experience in the entertainment industry. How has that influenced you and your practice?

When I was younger I cast in a few commercials and TV programs. Most of the time, I wasn’t old or mature enough to understand my role, so I just mechanically followed the director’s instructions. I remember that if I didn’t get it right, I would cry, and then the crew would do anything to make me smile again for the shoot. If I was supposed to cry on cue and couldn’t squeeze out any tears, they’d scold me to make my eyes water, and then the camera would keep rolling. once the scene was over, all of sudden, everyone would turn sweet, comforting me and giving me snacks. That’s just how things were done back then. There was a time I felt stupid as if I was wasting everyone’s time because I didn’t know what I was doing. Still, in my childhood, watching everyone on set running around, shouting, working toward the same project left a deep impression on me and probably influenced my artistic practice in a positive way. Now I can switch easily between working in total solitude for long periods and immersing myself in highintensity, collaborative projects. I think that feels quite natural to me because of those early experiences on set.