Junzhong Zhao


Hidden 48 - acrylic on canvas 30 x 60 cm
Hidden 83 - acrylic on canvas 30 x 60 cm


Most of my works were figurative and realistic in the first dozen years. There was also a conscious formal change in that period of time, which was reflected in the production process from thick to thin, and the content presentation from complex to simple. After five or six years of work, I once again fell into a creative bottleneck. The content was repeated and the passion was exhausted. Hesitantly I started experimenting with abstraction six years ago. Abstraction is not a new thing in the art world, but it was a new field that I have never ventured into. The buildings that had taken more than 20 years of hard work to be built in the past were torn down, their foundations were prepared, and reconstruction began. After experiencing successes and failures through repeated attempts, I create several series such as “Saltation”, “Hidden”, “Dome” and “Infiltration” in six years.

The “Saltation” series is a partial continuation of the past figurative brushwork, retaining the “circumstance” of the image. Line symbols of various shapes are placed in the dense illusion, and the coexistence and confrontation between blur and clarity, nothingness and reality are used to present the scene.

The “Hidden” series is the in-depth and extension of the “Saltation” series. Only line symbols are retained, and the elements of the picture composition become purer. Using infinite levels of coverage of line symbols, the final result is the overlapping accumulation of countless line symbols, which are mutually dislocated, blocked, and superimposed. The line symbols go from one, two to N, covering the canvas bit by bit; then one, two to N layers. Actually, they are the interpretation of time and the record of life.

The “Dome” and “Infiltration” series of works maintain the creative ideas and production procedures of the “Hidden” series while making new attempts to break the two-dimensional plane of painting and expand to a three-dimensional space. Especially the “Infiltration” series, which has completely left the wall, is an in-depth combination of painting and sculpture. The overall appearance with rounded curved surfaces as the basic modeling elements is combined with surface painting to cover the body, embodying the subtlety and restraint of Eastern culture.