Zhang Hui

Zhang Hui (b.1968) Zhang Hui was born in a family of actors in Beijing in 1968. His parents were engaged in folk music and dance. From 1987 to 1991, he studied at the New Mural Painting Department of the Central Academy of Fine Arts, where he conducted research on materials and conceptual art. In 1995, Zhang Hui exhibited a group of oil paintings based on the evening landscape of Beijing in an exhibition entitled "Entry", which attracted a lot of attention.

In 2000, Zhang Hui went to the United States to reunite with his family and entered the Minneapolis College of Art and Design for a master's degree, during which he tried new media art creation. In 2003, Zhang Hui returned to painting creation with new vision and concepts. The landscape in Zhang Hui's paintings has since paid more attention to the aesthetic taste of the plane：：the organization of colors and brushstrokes tends to be concise and lively. After 2011, when Zhang Hui returned to Beijing, the "familiar scenery and people" became new clues; memory and the present, emotional symbols, and projected objects-plants in the four seasons, stacked stones, floating clouds and half-humans and half-immortals Of women-viewers are no longer told about the subject of his painting.

Zhang Hui's pursuit of painting deviates from realism, and he also has reservations about the exploration of medium language (abstraction). He does not recognize the arbitrariness of contemporary painting subjects, and consciously makes up for his own creative form. From his paintings, you can intuitively feel the continuation of the painting tradition in contemporary history. The motif (literature) that Greenberg rejected, which "painters are afraid and avoid it", came back to life in Zhang Hui's hands and made people feel it again with visibility and inexhaustible creativity. He calmly dealt with the long-dead elegance, and the empty aesthetics left by the Western classical and traditional Chinese formulas in the secular life were used to write the current life perception. Without the cultural discipline, he tried to walk from the familiar back to the unfamiliar, allowing people to transcend all the established prejudices and estrangements in careful observation, and obtain spiritual comfort.