PRINTCatalogue Note:
Imperceptibly but inexorably,
STARS HAVE BORN, AND LIVES MULTIPLIED .
Grounded on the foundation constructed by black and white, rich and abundant colors expand in all directions, which is simply profound and solid. “19.09.85” exhibits the vast and changing meanings of life with remarkable magnificence, a mature piece by Zao created in his sixties. Experiencing two profound and heartfelt marriages that had ended up in separation, the artist met his third wife, Françoise Marquet, at the age of 52. They were married in 1977 four years later. Highly accomplished in abstract painting, Zao regained his interest in Chinese ink painting in the 1970s. He blended the elements of ink and wash into his oils, which deepened his profound artistic conception. Somewhere since the 1980s, the artist became more internationally renowned after exhibitions held at Grand Palais, Musee Nationale d’Art Moderne and other important galleries in France. He was recognized as an important French artist at that time. Zao also flew to Taiwan, China, Japan, Hong Kong and Singapore for exhibitions, which greatly enhanced his reputation in Asia.
In comparison with the composition in his early years, which the artist had tended to focus on the center to demonstrate strong ambitions and powerful feelings, paintings in the 1980s were given a more comprehensive arrangement. Zao allows the forces to engulf the canvas from all directions, as extensive and intense as the scene exhibited in “19.09.85.”A sort of magnificent ambiance has emerged from the glaring colors as well as the elegant snow white and ink black. The artist delicately arranges the twists from blue-green and gold to grape purple with the changes of light and rich texture of color, which appears grand, mysterious and magical. It seems difficult to grasp such cloudy and airy forms, but in fact, they are bodies as solid as golden stones. Perhaps, they are as the original matters that construct the universe, which are extremely thick and impenetrable, but at the same time, unsolidified. They swirl, collide and amalgamate. Imperceptibly but inexorably, stars have born, and lives multiplied. The artist ingeniously turns the lower part of the canvas into the light smoke that appears on the snow ground, between ink brushes and in the void. Isn’t such balance between the void and the solid a reflection of the essence of Daoism? The artist brushes, dyes and accumulates the pigments, creating the effect of splash ink through rich colors and gradational tones. This is not simple appropriation of a particular artistic skill but perfect combination of oil paint and ink wash, which requires masterly skills of the two art forms. The innovative and natural presentation of oil and ink demonstrates the artist’s remarkable artistic attainment in a state of contented and peaceful happiness.
There is always a sort of poetic quality exuding from the paintings by Zao Wou-ki. Ethereal poetical implication never dies out from his paintings even if they carry the most impassioned messages or convey the deepest and profoundest feelings. It is because his art echoes with the air that goes through the ups and downs of life, which travels between heaven and earth. Arousing people’s deepest emotional resonance, his art still maintains such transcendent elegance that ascends the most heartfelt feelings and grand philosophy to a higher level, leaving an endless ripple of charm in people’s heart. Such poetical quality originated not just from his Chinese literary background and the yearning for spiritual freedom in Eastern culture but also from his accumulated knowledge and enhancement in art. Since arriving in Paris at age 27, Zao soon established profound friendship with several poets. One of the most celebrated relationships was his lasting friendship with Henri Michaux for decades. It is the artist’s realization and pursuit of poetic that makes his paintings so unique and appealing. In “19.09.85,” gorgeous blue-green, gold and grape purple set off graceful snow white and spirited smoky black. Together they form a magnificent and harmonious poem, which appear airy and elusive but also solemn and grandeur, bringing us abundant spiritual wealth. As poet and historian Yves Bonnefoy described, Zao “Successfully explored the depth of “void” and brought up a new question about “existence”(originally published at Galerie Thessa Herold “Zao Wou-Ki” from November 1997 to February 1998).
STARS HAVE BORN, AND LIVES MULTIPLIED .
Grounded on the foundation constructed by black and white, rich and abundant colors expand in all directions, which is simply profound and solid. “19.09.85” exhibits the vast and changing meanings of life with remarkable magnificence, a mature piece by Zao created in his sixties. Experiencing two profound and heartfelt marriages that had ended up in separation, the artist met his third wife, Françoise Marquet, at the age of 52. They were married in 1977 four years later. Highly accomplished in abstract painting, Zao regained his interest in Chinese ink painting in the 1970s. He blended the elements of ink and wash into his oils, which deepened his profound artistic conception. Somewhere since the 1980s, the artist became more internationally renowned after exhibitions held at Grand Palais, Musee Nationale d’Art Moderne and other important galleries in France. He was recognized as an important French artist at that time. Zao also flew to Taiwan, China, Japan, Hong Kong and Singapore for exhibitions, which greatly enhanced his reputation in Asia.
In comparison with the composition in his early years, which the artist had tended to focus on the center to demonstrate strong ambitions and powerful feelings, paintings in the 1980s were given a more comprehensive arrangement. Zao allows the forces to engulf the canvas from all directions, as extensive and intense as the scene exhibited in “19.09.85.”A sort of magnificent ambiance has emerged from the glaring colors as well as the elegant snow white and ink black. The artist delicately arranges the twists from blue-green and gold to grape purple with the changes of light and rich texture of color, which appears grand, mysterious and magical. It seems difficult to grasp such cloudy and airy forms, but in fact, they are bodies as solid as golden stones. Perhaps, they are as the original matters that construct the universe, which are extremely thick and impenetrable, but at the same time, unsolidified. They swirl, collide and amalgamate. Imperceptibly but inexorably, stars have born, and lives multiplied. The artist ingeniously turns the lower part of the canvas into the light smoke that appears on the snow ground, between ink brushes and in the void. Isn’t such balance between the void and the solid a reflection of the essence of Daoism? The artist brushes, dyes and accumulates the pigments, creating the effect of splash ink through rich colors and gradational tones. This is not simple appropriation of a particular artistic skill but perfect combination of oil paint and ink wash, which requires masterly skills of the two art forms. The innovative and natural presentation of oil and ink demonstrates the artist’s remarkable artistic attainment in a state of contented and peaceful happiness.
There is always a sort of poetic quality exuding from the paintings by Zao Wou-ki. Ethereal poetical implication never dies out from his paintings even if they carry the most impassioned messages or convey the deepest and profoundest feelings. It is because his art echoes with the air that goes through the ups and downs of life, which travels between heaven and earth. Arousing people’s deepest emotional resonance, his art still maintains such transcendent elegance that ascends the most heartfelt feelings and grand philosophy to a higher level, leaving an endless ripple of charm in people’s heart. Such poetical quality originated not just from his Chinese literary background and the yearning for spiritual freedom in Eastern culture but also from his accumulated knowledge and enhancement in art. Since arriving in Paris at age 27, Zao soon established profound friendship with several poets. One of the most celebrated relationships was his lasting friendship with Henri Michaux for decades. It is the artist’s realization and pursuit of poetic that makes his paintings so unique and appealing. In “19.09.85,” gorgeous blue-green, gold and grape purple set off graceful snow white and spirited smoky black. Together they form a magnificent and harmonious poem, which appear airy and elusive but also solemn and grandeur, bringing us abundant spiritual wealth. As poet and historian Yves Bonnefoy described, Zao “Successfully explored the depth of “void” and brought up a new question about “existence”(originally published at Galerie Thessa Herold “Zao Wou-Ki” from November 1997 to February 1998).