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Conjurer2017-10-14—12-03

The biggest changes to Zeng Jianyong’s creations in recent years have been in his developments in painting. To be more precise, it is his transition from “parallelism” to the operation of a series of items and projects.  As a result, he has transformed from being a painter who ponders two dimensions, colors, and compositions to an artist who challenges himself through concepts, space, and media.

In 2014, Zeng attempted to create three-dimensional works. After many experiments, he chanced upon an industrial material - styrofoam. He employed styrofoam to form basic shapes. To their tops, he attached the pulp of Xuan paper. Then, he painted the pulp with Chinese ink. In this way, Zeng created an ambiguous form between sculpture and painting, opening up possibilities for Chinese ink in space. These paintings exceed the boundaries of two dimensions, becoming actual objects occupying a real space. Between images and objects, virtual and real space, two- and three-dimensions, Zeng created an existence with multiplicity, ambiguity, and intertextuality. As he tries to expand works that are placed on shelves to become multimedia integrated art, he still tries to maintain a dexterity for painting and particular variations in his images.

This exhibition presents the artist’s current working state - how he left and then returned to painting. This conflict forces him and the viewer to consider the validity of the logic behind the form and use of colors in traditional painting. Only until one faces the many problems posed by multimedia, the parallel processes, and the combination of spaces involved in new creation will one open themselves up completely and dive into the exploration of the unknown.