Zeng Fanzhi, born in Wuhan in 1964, graduated from Oil Painting Dept. of Hubei Academy of Fine Arts in 1991. He is now a professional artist. As the representative of Chinese contemporary painting artist in 1990s, Zeng had held personal exhibitions in Wuhan, Beijing, Shanghai, Hong Kong and Singapore, among them, the 2003 Exhibition of "I/We" in Shanghai and 2004 Exhibition of Paintings of Zeng Fanzhi during 1989-2004 in Shenzhen have made extensive influence. Important Collective Exhibition attended: "China Biennial-Oil Painting of the Nineties" in Guangzhou in 1992, "China's New Art, Post-1989" in Hong Kong in 1993, "China's New Art, Away from the State Ideology" in Germany and "Chinese Avant-Garde Art Exhibition" in Spain in 1995, "China!" in Germany in 1996, "Chinese Oil Painting within Fifty Years" in Beijing, in 1999, "The First Triennial of Guangzhou Arts" in Guangzhou in 2002, "Art Literature Nomination Exhibition in Hubui" in 2004.

Zeng's success in the 1990s undoubtedly contributed to his mature expressionistic style . His early series pieces like "Consonancy" and "Flesh Connection", etc. are dispersing modernism Art's signs: pain, despair and black fascination for the death. The scarlet skin and flesh, gigantic joints, nervous staring eyes and expressionless face in his painting are indelibility. Later in the "Mask" series, he animadverted on the hypocrisy and boring of urban population sharply. In 2003, Zeng used more subjective composition of picture and tricky color lines in his new landscape and iconology pieces, showing his efforts to keep on surpassing established personal style. After more than ten years uninterrupted pursue and operating, Zeng created "Sky" series in 2005 with his unique free movement of the pen trace, to extol his wonderful fantasy when he looked up to the sky of his hometown in childhood.

This piece "Watermelon" was created in 2004. The artist mainly used red and green with simple blue, and red are all gathered in the center of the picture, coupled with the strong representation of artists brush makes the center of picture more dazzling. Through seemingly desultory brush touch in the picture, we are able to explore the hidden tension of the artist's inner world. Mobile writing in his works, the stroke symbols is the disassembly of traditional cursive and the rhythm of lines has been abstracted. The simple composition and the movements full of musicality are results of repetitious brushes movements, dominated by the sense of the artist. And this kind of movement is reflecting painter's physical course of action. This kind of painting style is clear, simple and plain, which presents its abstract art language's features that gathered freedom, strength and mobile music together.

Zeng's imultaneously uses various types of brushes, wide and thin, to create such works. He had tried to follow the pen movement, but the effect was not good; while the effect of opposite direction painting surprised him, and he found it very interesting too. So he started using this method. Obviously, the core of Zeng's painting is brush movement, rejected both the narrative point and painting language, but with its own logic in the rhythm of the painting: two brushes in right hand, namely, index finger, middle finger and thumb pinch a paintbrush, then middle finger and ring finger pinch another paintbrush, moving on the canvas at same time. Paintbrush hold by index finger, middle finger and thumb is a customary, logic and exper ienced way, which constituted subjectival consciousness that dominated the painting integrity. The movement of paintbrush held by the middle finger and ring finger is totally opposite. It produces a free, illogic and accidental effects. He is skilled in using paintbrush just like using chopsticks, lines coming out with sliding feeling. Thus, his painting intertwined with rational and non-rational, and it is also like a fight between representational and abstract.

The creation of Zeng Fanzhi has not been under an obsession of any rules or established logic, but has maintained integrity of overall creative process and results, and excluded the painting repeatability. Thus, it has produced extraordinary effects of preset and chanciness, that is, construct a new language between "intention" and "no intention", artificial and natural. Based on this method, he still observes things meticulously and thoroughly, though abstract as mainstay, but actual detail on the premise.