A sculptor with a prominent creative personality, Wenzhi Zhang’s works are known among contemporary Chinese sculptors as eclectic, filled with imagination and creativity unique to her own, and have sustained mainstream attention. This can be contributed to her multicultural vision which answers some of the major questions in the subject of contemporary Chinese sculpture.

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　　The starting point of Zhang’s artistic creation is unlike many of her counterparts. For years she has been communicating and in contact with the international art community in her life and work. Her international background frees her from national and regional limitations. In an international language her works are appreciated by people from different ethnic and cultural backgrounds; they have generated a wide audience and are widely admired.

　　Her popularity does not imply the absence of personal touch due to a lack of particularity in the cultures by which she is influenced. On the contrary, her pieces are unique and non-replicable as they are rich in experiences personal and circumstantial – highly relevant to the circumstances in which she grew up, her works are formed by much pondering and exploration. When she presents her message in an artistic language her vision has determined her bold personality while considering the level of acceptance of the audience. In this way she has secured the appreciation of a wide audience while breaking the bounds of her living experiences. In other words, Zhang has stricken the delicate balance between the personal and the social, and the individual and the communal. Her works are neither intentionally “Oriental” nor “Chinese” but undoubtedly feature an Eastern flair. Therefore, her multicultural vision has determined her works to be international and at the same time Eastern.

　　Such complexity can also be observed by the femininity naturally revealed by her work as a female artist; a femininity which is sensitive, delicate, smooth and flowing. Such femininity is nonetheless broken through abruptly by some sharp turns, rough edges and cracks, demonstrating the internal conflict of forms. The symbolism in such expression is apparent. One can easily associate such expression with the inborn softness, fragility and vulnerability of the female, but such femininity is sustaining an instinct to guard, be alert and protest. While Zhang might not have meant to emphasize issues of her identity as a female, she may have unintentionally revealed them. Such “unintentionality” turns out to be the most natural and exceptionally fine quality.

　　Zhang’s sculptural language is unique. It springs from her personal imagination while relating to organic forms found in nature. There are abstract elements though one is prone to have association with concrete images to her expression. The corresponding model of the apparently extraordinary and unusual outer forms is hard to find in reality but such forms are natural and smooth and do not make one feel crude or absurd.　　

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　　Such sculptural language has determined the compatibility of Zhang’s sculptures and nature. Her sculptures appear to be grown from nature rather than sculpted artificially, their form often familiar while taking us my surprise.

　　Zhang’s use of materials is also quite special. She has been consistent in her preference to ceramics with glazing and has reached an expert level after years of use and mastery.

　　The firing of ceramics is an old craft where the character of a piece is shaped by clay and fire. The randomness and uncertainty involved in the process bring great difficulties to the artist while creating many opportunities which may only come by chance. Therefore, a great piece of ceramics is half artistry and half fortune. Zhang’s effort in promoting ceramic art in public space has made her a leading figure in the mainland Chinese art scene and her attempts have been beneficial to society. With the exposure of her work radiating, her effort in bringing together the individual and the communal, art and public space as well as artistic creation and cotemporary living, will be responded and echoed, bringing her greater success.

　　Zhenhua Sun

　　Professor, the Department of Sculpture at the China Academy of Fine Art

　　Vice-chairman, China Sculpture Institute

　　Researcher, China Contemporary Art Research Center

　　Editor-in-Chief, Chinese Sculpture