Zuo Zhengyao

in terms of art media, the development of the Chinese ink painting has gained a long history in China. as an artistic from, ink painting has been long the symbol for the oriental culture and esthetics. however, the inner spirit in all artistic forms will definitely step forward with the time. under the background of an era that keeps changing and transforming, the contemporary ink painting in China reflects mainly three different states under the influence of academics as it faces various choices from the traditional culture and exotic cultures.

The development of ink painting in China has been influenced by the Chinese traditional painting. such an influence is not only mirrored in the skills of “pedigree” such as “stroke”, but also in the artistic logic that is full of the oriental spirit and esthetics such as “artistic conception”. as a cultural phenomenon that possesses meanings, the literati painting have set a deep influence on the Chinese ink painting. Many artists from the art schools focus on two issues: what to paint and how to paint. Compared to the traditional artists they have absorbed a modern spirit and therefore their art careers are widened. The second form is the experimental ink painting that led by the curators. Generally such a way of artistic activity in ink painting is directed with a certain theme and topic by a curator and then a group of artists work together. The third form is an art exploration practiced mainly by an individual. The Chinese ink painting stands right now under a process of exploring an individual language. The individual practice is essential to the development of contemporary ink painting. Thanks to such an exploration that is overturned and rearranged time after time the ink painters and such a various and active environment of the contemporary Chinese ink painting appear.   

remote” sense in picture, liu creates a “butterfly effect”: lives in the north, liu’s freewheeling stroke has caused a nine-grade typhoon in the south. Keeping a proper distance from chaos, disorder and dream, and relying on his personal living state and the direct-mannered observation, liu has entered a personal reality of life and mind. as liu interferes the contemporary art space with his traditional identity as a scholar of Chinese ink painting, his wild manner and relaxed gesture has become full of meaning for discovering the common living situation in the modern metropolises.

The traits in ink painting seem have all disappeared in Wu Yi’s works. The moony style in picture could easily trigger an enigmatic feeling for vision, just as Fan Dian says: “… the more random and easiness it unveils, the farther the distance from the traditional form and the closer relationship with the heart is found.” Wu Yi believes that “ink painting is a result of temperament… for ink painting's sake or constantly repeating a certain pattern is idealistic and skin-deep.” only when “the ink painting returns to its true color”, can “the instinct and nature be approached”. Wu Yi has created a lofty sense for his ink paintings. simple, clam, modest, light, lazy, these have dominated Wu’s taste for ink painting. and that is the unlimited space for the dimension of his paintings too.

The 3rd Project Exhibition of the 4th Guangzhou Triennial-“Dimension” of Zuo Zhengyao, liu Qinghe and Wu Yi reflects their attitude towards art. Therefore it is a deliberate height! “The ‘Dimension’ of Zuo Zhengyao, liu Qinghe and Wu Yi” is a work that created from their own height, and it is also the ultimate standard of this exhibition.