PRINTCatalogue Note:
While the Stones, Flowers, and Peach Blossom series all had their inspiration and origins in the traditions of the Chinese literati painters, Zhou’s Green Dog series came from a directly corporeal muse. Given to the artist in 1994, the spirited German shepherd named Hei Gen became a source of near paternal pride for Zhou. While at first depicting his canine companion in natural brown and black shades, in 1997 Zhou began using hues of bright, bold green to illustrate not only the physical form but the captivating spirit of Hei Gen as well. “Green Dog is a symbol, an emblem,” explains the artist, “The color green is quiet, romantic, and lyric, and it contains in it the tranquility right before an explosion.
Though the dog may seem obedient on the surface, its inner nature is filled with passion. Its green body, strong presence and barely suppressed explosive power are unforgettable.” In this guise, Zhou captured the vibrant essence of Hei Gen in his various humors until Hei Gen’s tragic and sudden death in 1999.
When Zhou began to paint his Green Dogs again in 2001, the series expanded to a broader study of the canine form. Without the physical presence of his former model, Zhou extended his series to include a prodigious diversity in breed, temperament, attitude, and posture. Throughout the series, Zhou utilizes the form of the Green Dog as means for exploring tangible depth through his brushwork and technique. Explaining his motivations in creating the series, Zhou states that his primary intention was “to evoke the concise simplicity of traditional literati paintings, as well as a ‘sculpture on canvas’.”
This objective is visibly demonstrated in Green Dog. Painted prior to Hei Gen’s death in 1999, this piece encapsulates the effervescent spirit of the indomitable German shepherd, with a three-dimensional form which seems to extend forward from the flat surface of the canvas. The enlarged cavernous maw dominates the columnar figure, with the startling red tongue standing in stark contrast to the brilliant green body, drawing the viewer in to this gaping focal point. While the long, white teeth glisten prominently, the Green Dog here poses no threat in its relaxed, recumbent position. Here the Green Dog appears joyous rather than menacing, captured in the moment of releasing a celebratory bay in a demonstration of canine delight. Representing Zhou’s literati influences, the dog is placed squarely in the center of the canvas, surrounded by a subtle, featureless background, a style in keeping with Chinese liubai tradition. Against this void, the Green Dog captivates the viewer’s attention, dominating the composition completely. Zhou’s dense textural strokes amplify the sense of volume, producing a wild, sculptural form. Captivated by the luminous, bizarre hues, the viewer can clearly see why Zhou once said, “I have endowed all my bold and weird imagination to this dog.”
Though the dog may seem obedient on the surface, its inner nature is filled with passion. Its green body, strong presence and barely suppressed explosive power are unforgettable.” In this guise, Zhou captured the vibrant essence of Hei Gen in his various humors until Hei Gen’s tragic and sudden death in 1999.
When Zhou began to paint his Green Dogs again in 2001, the series expanded to a broader study of the canine form. Without the physical presence of his former model, Zhou extended his series to include a prodigious diversity in breed, temperament, attitude, and posture. Throughout the series, Zhou utilizes the form of the Green Dog as means for exploring tangible depth through his brushwork and technique. Explaining his motivations in creating the series, Zhou states that his primary intention was “to evoke the concise simplicity of traditional literati paintings, as well as a ‘sculpture on canvas’.”
This objective is visibly demonstrated in Green Dog. Painted prior to Hei Gen’s death in 1999, this piece encapsulates the effervescent spirit of the indomitable German shepherd, with a three-dimensional form which seems to extend forward from the flat surface of the canvas. The enlarged cavernous maw dominates the columnar figure, with the startling red tongue standing in stark contrast to the brilliant green body, drawing the viewer in to this gaping focal point. While the long, white teeth glisten prominently, the Green Dog here poses no threat in its relaxed, recumbent position. Here the Green Dog appears joyous rather than menacing, captured in the moment of releasing a celebratory bay in a demonstration of canine delight. Representing Zhou’s literati influences, the dog is placed squarely in the center of the canvas, surrounded by a subtle, featureless background, a style in keeping with Chinese liubai tradition. Against this void, the Green Dog captivates the viewer’s attention, dominating the composition completely. Zhou’s dense textural strokes amplify the sense of volume, producing a wild, sculptural form. Captivated by the luminous, bizarre hues, the viewer can clearly see why Zhou once said, “I have endowed all my bold and weird imagination to this dog.”