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ZENG JIANYONG’S DISPLACED CREATURES
Carol Cheh
The Header series, a recent group of paintings by Zeng Jianyong, refers to a term used in the People’s Republic of China to
denote the head of the class—the top pupil, a child who not only earns good grades, but respects his or her elders and gets
along well with others. The “header,” held up as an example of all-around excellence, is something that Chinese children eagerly
aspire to be. At the same time, the existence of this lauded position highlights how much cultural pressure there is to excel in
both scholastic and social environments—pressure that
can at times become harmful and oppressive. In more
extreme cases, this pressure has led to depression and
even suicide.
Zeng’s paintings depict a single child or group of children
in ordinary dress against an empty, neutral background.
An armband bearing three horizontal stripes and a
prominent black scarf worn about the shoulders identifies
the header. Intended as emblems or caricatures rather
than realistic portraits, Zeng’s children, while discernible
from one another, all have a certain trademark look—
ruddy marks on their skin that could be blood stains,
overly large heads, tiny noses and mouths, and startling
silver-grey eyes that look like shattered marbles.
Like Margaret Keane, whose paintings of big-eyed
children became an American pop-culture phenomenon
in the 1960s, Zeng uses his children’s remarkable
eyes to fix both the viewer and the subject, providing
a focal point for tension and interaction. We look into
the children’s eyes to see what they see, and to see
ourselves reflected. Unlike Keane’s children, however, 4
whose eyes are so large and clear that they seem to
take the whole world in at once, Zeng’s children seem
to be saddled with malfunctioning glass eyes, perhaps
introduced into their bodies following some kind of
trauma, and now dooming them to forever see the world
in a skewed fashion. One wonders, what went wrong
here? The splintered eyes seem to be the origin for an
entirely splintered sensibility, which reveals itself in the
bloody vein-like markings spreading across the children’s
faces and arms.
Zeng has said that as an artist, he “treasures the
weaknesses of human nature, such as irrationality and
fragility,” and tries to tap into these qualities when making
his art. The Header series was partially inspired by Zeng’s
young son, whose current experiences in primary school
are reminding the artist of his own upbringing. Stylistically,
Zeng cites the influence of Western contemporary
sources. In addition to Keane, his work can be linked to the whacked-out portraiture
of Lisa Yuskavage, John Currin, or Egon Schiele. It also has something in common
with the social criticisms of Honoré Daumier and George Grosz. Zeng himself cites the
simplicity and modest charms, and perhaps the color palette, of Italian still-life painter
Giorgio Morandi as an abiding influence.
Zeng uses materials that are associated with traditional Chinese painting and
watercolor—handmade paper, inks, and watercolors. However, the technique that
he employs in the Header series, as well as in the Spare Time series (discussed later
in this book), is his own. Using two sheets of handmade paper, Zeng adheres one
sheet to a board, then takes the second sheet and paints the image on the surface.
Once the image is dry, he flips it over and adheres it to the first sheet on the board. 5
Thus, the image is sandwiched between the two sheets, which have the delicate translucence of rice paper, and the viewer sees
the image through the paper. The result is that the paintings have a luminously faded look—a look of faraway urgency. While
there is a mild obscuring of the image, its intensity still shimmers through, sometimes accented by extra layers of ink added to
the top surface.
Zeng’s unique and absorbing work is the product of a wide variety of influences and training, both Eastern and Western. In the
artist’s own words, “If my art is considered a mix of Eastern and Western styles, I prefer to view it as a natural result. During my
student time of artistic training, I had training in both Chinese and Western art skills, and I studied the histories of both. I have
tried many different methods, such as Chinese traditional painting, oil painting, printmaking, illustration, mixed media, and 3D
animation. All these experiences naturally improved my style. It is possible to elaborate on the Eastern elements and Western
elements in my art, or, to deny that my art belongs to any style. I always follow my intuitions.”
Carol Cheh is a writer and curator based in Los Angeles.
6
The Header No.65Ink and watercoloron hand-made paper90.2 x 73.4 cm (35 1/2 x 28 3/4 in)2007 32
The Header No.66Ink and watercolor
on hand-made paper 90.2 x 73.4 cm (35 1/2 x 28 3/4 in)
2007
There is a strong element of psychological displacement in Zeng Jianyong’s character studies, which serves to question our
usual social perspectives. The Spare Time series, which is something of a companion to the Header series, utilizes the same
formal framework but takes animals as its protagonists instead of children. The faces of cats, dogs, horses, and other creatures
are portrayed as though they are human, some with doleful or angry looks, some with apparent tears streaming down their
faces. Like classic works of caricature, these studies become mirrors of our adult behaviors. Their expressive personalities are
even more striking when viewed next to the “headers,” who have a shell-shocked, zombie-like look. Just as the children are
missing their wide-eyed curiosity, the animals have lost their pure animal nature by reflecting our own demands back to us.
- Carol Cheh
34
Happy LifeInk and watercoloron hand-made paper90 x 90 cm (35 1/2 x 35 1/2 in)2007
To the Apple OrchardInk and watercolor
on hand-made paper144.3 x72 cm (56 3/4 x 28 1/4 in)
2007 51
ZENG JIANYONG
1971, Born in Chenghai, GuangdongGraduated from Chinese Painting Department, Huaqiao UniversityGraduated from Printmaking Department, Central Academy of Fine ArtsCurrently a professional artist living and working in Beijing and Shenzhen
Solo Exhibitions2007 Works of Zeng Jianyong, Jiushi Space 798, Beijing2007 The Header--Works of Zeng Jianyong, Times Space, 798, Beijing2008 Heather James Art, Palm Desert, CA USA2008 Rohrer Fine Art Gallery, Laguna Beach, CA USA
Selected Group Exhibitions1994 China Art Student Annual Art Awards, Shenyang2002 China Computer Graphics Festival 2002, Beijing2003 China Computer Graphics Festival 2003, Beijing2007 Outside Exhibition of “Art Beijing 2007”, Beijing2007 No Livingroom at that time, Beijing2007 Institute of Traditional Chinese Fine Art Painting, Beijing 2008 2007 Chinese Contemporary Art Document, Beijing
PublicationsDrawing Book “Sapiential Seed” Series, Beijing Publishing House GroupDrawing Book “Interesting Experiment”, Beijing Publishing House GroupDrawing Book “Learning Math with Albert”, Time Warner-Time Life
ARTIST REPRESENTATION
Artist photos by Kathy Amerman, (c) 2007 Smile ProductionCatalog designed by Timothy Tompkins 54
73-080 El Paseo No.5 Palm Desert, CA 760-346-8926www.heatherjames.com
346 North Coast Hwy. Laguna Beach, CA 800-949-5211www.rohrerfineart.com
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