Written records of the collection and appreciation of artificial rocks in gardens, otherwise known as Taihu Rocks, can be traced as far back as the Song Dynasty. After sculpting, the rocks fully express the imagery of a real mountain through exaggerated forms and complex spaces. Sculptor Zhan Wang reconstructs this thousand year-old tradition through his unique perspective-he uses Western sculpturing methods and modern materials to recreate Artificial Garden Rocks.

Zhan Wang first began this series of works in 1995. While talking about the creation of this series, Zhan Wang said, “When I saw that rocks were placed in front of many modern buildings in Beijing as adornments, I realized that this two thousand year-old tradition, which has continued all this time, had lost its meaning. The casual ease in which they are used shows that its spiritual meaning has been eroded, and one cannot help but link it to the loss of culture. When we accepted industrialization, at the same time we had to accept the culture that stemmed from it. If a culture and its people disappeared, then I guess nothing more needs to be said. But the problem is when the culture disappears but its people still exist, that's an entirely different story. We end up with traditional garden rocks placed in front of modern buildings, and a mix of different cultural systems.” (Excerpt, Zhan Wang, The Marks of My Experimental Art)

The piece “Artificial Garden Rock 22#” is unique in form. It seems as if a great power has burst forth from its base and formed its undulating outline; the uneven spaces on the rock soften the pressure and heaviness conveyed by the material. The smooth surface and wavelike contours present a wistful contrast of light and dark, concrete and abstract, and a rippling mirror effect. The viewer unconsciously incorporates the surrounding environment while viewing this piece.