zhang Incursion

Incursion is not only physical, but psychological. It could be an obvious intrusion or collision, a slow infiltration or a kind of nervous disorder. The violation of physical rights and moral rights originate from political and cultural violence. The body is a way through which we communicate with culture, but is also an inherently private matter. The body collects information everywhere, whether it’s from a catastrophic crash, hidden signal or subtle warning. Made of skin and blood, our bodies are soft and easy to stretch or manipulate. The body is highly sensory and when invaded, the intrusion causes damage to the skin through the distribution of neurons connected to the skin, bones, joints and internal organs. This process affects our judgment, informing our response and through the body's response, people develop a specific feeling or emotion. It is a broad, fast, accurate, and profound experience.


侵入不仅是身体上的,而且也是心理层面的。 它可能是明显的侵犯碰撞,亦或是缓慢的浸润甚至可触及人的神经。无论物理或是精神权力上的侵犯常常源自于政治和文化的暴力。身体是隐私的同时也是我们与外界交流的方式,面对灾难性事故,无论是隐藏的信号还是微妙的警告,身体都会从各处收集信息。从皮肤到血液,我们的身体与生具备了柔软的特性,易于拉伸和操纵。但身体具有很高的感觉力,当受到侵害时,会通过分布在皮肤,骨骼,关节和内脏器官上的神经元分布而对人造成损害,这个过程会影响我们的判断力,并且通过身体的回应,我们会产生特定的感觉或情感。这是广泛,快速,准确和深刻的经验。

Our “Body”: Ourselves

The body is the starting point for my discourse, my language, and my art.

My art focuses on the topic of women’s identity and how it is historically and culturally constructed. Women have occupied a vast array of positions across cultures for centuries. We have been twisted, broken, gazed upon, judged, and forced to reside in an unfair, exploitative arena. The female body is the beginning of life, but instead of being respected it is objectified, stereotyped and depicted in a way divorced from reality.

“She” is not only a physical "thing", but also a living expression of language, culture, and experience. The body and language are integrated.

“Body” is an active moving force and an arsenal for claiming rights.

In the context of our consumer era, our aesthetics are forced to confront numerous material obstacles. The body is an important place to begin for understanding how to think about the social construction of gender and its connection to aesthetics, ethics, and culture.

I use mixed media to move beyond traditional boundaries. I try to eliminate anything that is unnecessary. I choose basic materials that are easily found in any household. I want my make the form free and as close as possible to my original intention. I enjoy utilizing fabric in that it can be stretched, sewn, and molded, almost functioning like a second skin.

The body is not the object of consumption by power and desire, but a vehicle to implement change. An inspired and enhanced consciousness establishes a new sense of self that will lead to a better place in the world for both women and men. The body itself has a huge source of energy and wisdom. We need to listen to our hearts through the expression of our bodies. Intuition, experience, empathy, compassion, and strength are the subjects of our consciousness and should define our language.

For me, the expression of the body is an empowering experience, and it is this I hope to share with those those experiencing Our “Body”: Ourselves.










Sealed memory

Memory is complex. Time and reflection can both blur and clarify events. But another kind of memory is the memory that can’t be erased. After all these years, the dust has not settled. Memory is hard, but I cannot turn away from it. It has continuously lingered with me influencing my perspective on the world as well as my art. I witnessed history, was apart of it, and it shaped me.

1989 was my final semester of college. Many important events transpired that year. My college was 30 minutes walking distance from Tiananmen Square. As student demonstrations began and grew, we walked to the Square often. Because of our many visits, I felt that Tiananmen Square was very close, not only in distance, but in spirit to the campus of the Central Academy of Fine Arts. I soon began to feel that as I was walking between the school and the Square, I was traveling between the ideal and reality.

In the summer of that year, I began to take pride in my identity. I wore my own clothes celebrating my own personal style. I made them myself. This was an expression of a kind of youthful pride, and although not perfect, it was unique.

As I watched and experienced those days in June of 1989, I knew there was no place for me in my own culture, in my own country. Of course, our graduates of Central Academy did not have a graduation exhibition after the June 4th incident, and most left school.

I have since moved to and lived in both Japan and the United States. My Chinese memories have become precious and have been preserved during my experiences in different cultures.

How does one define youth? Is it unlimited dreams, unforgettable stories, and a stubbornness that cannot be detered? I remember assembly and protest evolving into violent suppression, tragic endings and subsequent bans. The memory is fixed in a state of extreme sadness. It lingers like a book that can’t be opened. I remember, but it is a sealed memory, very sensitive yet very violent.

When people ignore violence, or choose to forget, or become indifferent, this contributes to the problem. It creates anxiety in every corner of the world. It migrates into our consciousness whether we are aware of it or not and effects our daily lives. Many try to forget, and over time don't care anymore. Violence is not a historical anomaly. On the contrary, violence can actually be said to be the normal state of history. We see our world becoming more violent. War is everywhere. People suffer in the name of greed and power. This cannot help but to contribute to our collective unconscious, our sense of memory. We leave this to you to consider.

This installation is part of my sealed memory.


记忆是一个庞杂的汇合,常常随着时间的流逝被模糊或变得清晰。 但另有一种记忆是每一次轻叩都会浮现在眼前的场面,挥之不去,它也许会被封存,但不会被遗忘。它会一直徘徊,就像没落定的尘埃,随着时间慢慢沉淀,成为一种见证,让我目睹历史,我也因此被改造。


那一年的夏天,我开始意识到自己的身份,也特别喜欢穿自己做的衣服,因为有种青春的自豪,虽不完美,但独一无二。对年华的记忆后来变为异常珍贵, 以至于后来往日本,美国的搬移中一直珍藏着几件。


青春该怎样定义?有放逐的梦想,有刻骨铭心的故事,也有不甘于醉生梦死的固执。从集会,抗议,到暴力镇压,惨烈的结局以及之后的禁声。记忆被凝固定格在一种极端郁闷与悲情之中。似乎被沉睡, 像一本打不开的书。却实实在在地封存了一段记忆,很分裂很暴力。

当一种对来自暴力的强烈刺激被封住,人抑或从此选择遗忘,冷漠,无动于衷;抑或对于暴力格外敏感和关注。这个世界的焦虑不安呈现在各个角落,无论我们是否能察觉,人类暴力的本性,在日常中扮演的角色以及暴力的深层机制都毫不掩饰地存在着。 暴力并非历史的变态,相反,暴力其实可以说是历史的常态。暴力的演出一直在登峰造极。在我们的眼前所展示的是以贪婪和权力为名义的越来越暴力化的世界。在暴力记忆中的成长,以及集体无意识的暴力,留下了更多的是思考。



The body is like a flowing landscape. It is also like a reflective mirror revealing some memory in the migrating bundles of my work. These memories are reshaped in different crevices, enduring but sometimes hidden.
Everyone is looking for one’s own inner home. Even if it is vague, the initial psychological and physical response to the environment is always the most reliable. For example, in the face of toughness, you will try to protect yourself with softness and elasticity; in the face of softness, you will try to stretch as much as possible without margins and seek maximum freedom. And when you are in these moments, instinct is like a guardian that may retreat outside of consciousness. Only by taking a step back can you separate the spirituality of the body from its physicality. This is undoubtedly a product of culture.

This work is a continuation of my previous work and I hope to emphasize a sense of consciousness. This is not only about the entanglement of foreigners, strangers, visions, or concerns about gender, age, race and identity, but also the question of power structures and value systems. These consciousnesses accumulate and produce a strong anxiety, and anxiety causes the body to become a medium for revealing both the inner and external contradictions. This, in turn, produces a more effective expression and should be regarded as mirror images of the inner level as well as a way of expressing reality.

Using cloth that is usually worn close to the skin makes me feel a sense of body temperature during the production process. The white fabric always brings me to a poetic dreamlike state. It’s like entering a secret passage. This seems to be a necessary path, but the idea is always updated and activated and varied. The cut slit is like an open door or window, and the layers are stacked so that the viewpoint collides between the positive and negative spaces. In the changing field, the feeling of doing the work gradually disappears, accompanied by a sudden change in perception, and the handling of minute details often has a sense of transparency. For me, the seemingly empty openings are like fragile containers, containing an active motivating force.

In both tangible and invisible bondage, in the unpredictable thoughts, what is left to me is release, like finding a hidden exit.


软体如同一个身体景观和流动的空间,也如一面虚拟的墙, 在缠绕捆绑中反射出对身体的某种记忆。这些记忆是一种游离于不同夹缝中被重塑的凝视,充满耐力而又时隐时现。






Our perception of experience is direct, but at the same time, culturally shaped. Our judgments about ourselves and other people's existence and social behavior, our understanding and questioning about age, gender, race, identity and human rights will overlap in some form in the body. The psychological interaction with the body often affects my examination of the internal and external, and thus provides me with a little more understanding of human nature. I am gradually getting used to the point of view of the body as a point of entry to express a specific point in time. Creation is more difficult than completing a project, because grasping each detail through the complex connection of the body and the brain to precipitate and filter one’s own consciousness is no easy matter. Transforming a very figurative thing into an abstract emotion is undoubtedly an expression of the unique character of the individual. In a way, my work is a vehicle for organizing myself.

For me, "transparent body" is not only a record of mobility, but also an active reconciliation. Art is built around "people." People themselves have multiple contradictory attributes, and in the dynamics of imbalance-balance-unbalance, the brain drives us to create something to go forward. In the process of creation, I often get unexpected feelings due to the existence of various contradictions. Just like the transparency and lightness of the characteristics, there will always be a lingering sadness behind the material. Reality is the most solid foundation in the process of capturing an elusive idea. Creation is actually a vision that is presented by circular and repetitive memories. The difference is that this process enhances the body's perception, but the inner connection is inseparable.

I like the blank state after the complicated, entangled engagement, just like order after chaos, and like a translucent representation, which is a kind of moment of agility and change. The boundary is chaotic and full of tension, but all uncertain factors will provide a new impetus to thinking, to build and correct. And all this awakens my inner desire. Transparency can be both revealed and obscured, but it has an internal meaning. The choice of transparency is to express those parts that are both unforgettable and neglected. Even if they often rush into my sight in a flickering manner, there must be a specific reason for their existence. The clear and vague edges between the physical appearance and the internal are inherently appealing to me. Because it is pliable, it is full of unusual contradictions.


身体的感知经验最为直接,同时又是一种文化中介。 我们对自身和他/她人的存在以及社会行为的判断;对年龄;性别;人种;身份以及权利结构的认识和质疑都会以某种形式重叠在身体上。对身体体征符号的心理折射常会影响着我对从内向外的审视,进而对人性多一分理解。渐渐习惯于从身体作为切入点来表达特定时点的认识,与其说是创作不如说是整理,因为对每一个细节的把握都是通过身体和大脑的复杂连接来沉淀过滤自己的意识,在真实与虚拟之间,把一种非常具象的事物转化为一种抽象的情感,这无疑是带有个体的特有信息的综合表现。


我喜欢那种在繁琐复杂纠结后的空白状态,就像混乱后的有序,也像一种半透明的呈现,是一种灵动和变化的种种瞬间,边界混沌但充满张力,所有的不确定因素都会给思维提供新的动力,去建立和修正。而这一切恰恰也唤醒了我内在的愿望。 透明既可显露又可遮蔽,具有呈现内部的意义。而有选择的透明性表达是为了表现那些不易忘却和被忽视的部分,它们即便常常以忽隐忽现的方式冲进我的视线,但一定有其特定的存在理由。而介于实体外观与内部的清晰与模糊的边缘对我有着本质上的吸引力。因为可塑,其中充满了各种矛盾,甚至诡异。

Things Fall Apart

This installation is a reaction. A confession. A reckoning.
It stops to acknowledge the madness of the world.
It speaks directly yet circuitously. It bludgeons and it hints.

There is too much information… too much misinformation… too much violence (visible or invisible, tangible or intangible) … too much confusion… too much truth… too much falsity… too many people... too many networks… too many things happening at once.

It breeches the body’s limits, this carnival and spectacle.
It breaks the human soul, this nothingness delivered with incessant fury.
It is more than one can take, and so,

Some pieces are burned and break up. This is just matter, nothing more than simple material molded into a shape, yet clearly there is pain here. One sees injury. Was it disease? Was it violence? What is it that breaks a woman’s body? Was she over-medicated or was she without access to treatment? Was it bearing children or bearing without them? Was it living invisibly under the heaviness of society’s expectations and power structures? Was it imprisonment or liberation? It is not just in China or America, it is everywhere. It is not just women, it is everyone. Bodies are pushed past their limits. The world’s problems are so evident, and so overwhelming. It is hard to make decisions. It is hard to make judgments. It is hard to know what is right. The outside stimulus is never-ending. Its violence is pardoned. There is no escape. It doesn’t matter if you like it or not. This is not natural for our minds or bodies. And so,

Each piece in this installation is a façade. A mask. We pretend to be intelligent, when in fact we do not understand. We pretend to be sure when we feel unsure. Our bodies are broken, but we pretend we are strong and powerful. We pretend to look okay, when inside, we are not.

Behind each surface, there is a deeper meaning. Amorphous shapes push through fabric stretched onto canvases. The abstraction forces the mind to wander in to a feeling. Art only gives you a part of something; there is another part you cannot see. One knows they are looking at some part of a human body, but cannot ascertain which muscle. The motion is evident, but the power is boxed in. These shapes try to break through the façade. But the energy cannot come out.

I begin every piece in the same way. When faced with a blank piece of canvas, my approach is this: do not resist. Follow that irresistible desire. It is like dipping my hand into a stream and feeling the current. The meditation allows something unseen to find its way out. What emerges was within me, but it was hidden until now. It lived within the temperature of my body, but it has been converted, transmuted, transported. It has entered the world and I see it for the first time. The work is a part of me but becomes an object in itself. Every piece in this installation was a surprise. Every piece, regardless of size, emerged from a physical psychological and physical memory. So each piece is impossible to repeat. Art is the individual's exploration of the inner self and the outward world.

Every step in this installation was a spontaneous discovery. Eggs can be seen scattered, clustered, in paths. They once carried bodies and now lay broken. Their shards are a testimony to birth and possibility. Every moment is unknown. Some people react with fear. But some feel nervous excitement of a second chance. The unknown can be welcomed with delight. It can either be seen as an end or a beginning when...


這組裝置作品像是一種私密的反應 ,懺悔和清理。
身處一個瘋狂的世界,你的思維會提示你無法認可它,而這種提示看似矛盾, 直接又間接,濃重渲染卻又輕描淡寫。

這組裝置作品像是一種私密的反應 ,懺悔和清理。身處一個瘋狂的世界,你的思維會提示你無法認可它,而這種提示看似矛盾, 直接又間接,濃重渲染卻又輕描淡寫。

有太多的信息,,,太多錯誤的信息,,,太多(有形或無形,可視與不可視)的暴力 行為,,,太多的混亂迷惑,,,太多的真理和謊言,,,太多的人,,,太多的網絡,,,太多的事情同一時間發生。








A new place always brings the possibility of illusions. Creating an art piece means creating a new reality. The boundaries of my imagination get pushed by inconclusive elements. A flash of thought comes to me when past memories meet new encounters. For me, inspirations are born from the relationship among inner mind, physical body and environmental boundaries. What you can do is to reveal one of the features of the texture to its maximum, as the texture is unique and diverse by itself.

A sudden change or break down of the presence always comes with sharp damage. However, unlimited opportunities will rise between the end and the rebirth. Every piece of broken shards from the old presence shows both explosiveness and fragileness naturally. They speak with a special language consisting of fear and loneliness. This kind of visual reality is bittersweet. Dazzling. Finding a way out of the broken shards is thrilling. Within this piece or artwork, I tried to freeze the very moment of breaking a presence, to expose the fragileness behind the routine. Though presented in still visual art, it represents the flow of time and life.

To me, working is mostly a process of releasing inner energy. Full of expectations, surprises and challenges, it allows me to search for the right touch in the simplest way with easy access.


新的空间总能给人带来一种幻觉的可能性。 重建一个作品意味着创造一个新的现实,而想像的界限也往往在各种不确定因素的刺激下充满可能性。但即便一瞬间出现的想法也大多来于各种曾经验过的心理感受与新气息的交错碰撞。 对我来讲,灵感始终来源于自身心理,身体以及环境的界限关系。而材料本身已有其特殊性与丰富性。你能做的就是把它的某种性质发挥到极致。与材料之间的互动关系常常是不期而遇的。




Creating art is a way of examining my inner self, my true self. Creating art is my way of interpreting various emotions and spiritual thoughts; to remove the mask in order to show the true face of human nature. At times, I will create art as a process of rethinking myself. In my life, I have experienced many impulses, both physical and mental, that have taken me from one place to another. I have adapted to new environments and cultures. Living at the intersection of Eastern and Western cultures has influenced my vision of life. My mind is usually hovering between what is real and what is imagined. Therefore my work is very personal and reflects my inner conflicts and struggles. Many events in our lives happen naturally and frequently. Over time, we may become apathetic and neglectful of everyday occurrences, and even ourselves. This illustrates how people think and navigate through life, but recognizing the significance of small items can influence how we see everything around us. Seemingly insignificant details reveal the sensitivities and weaknesses of human nature.

We are consistently being challenged by feelings of confusion and lucidity, loss and hope. In addition, the place between an actual experience and a dream could also make one feel lost as we often struggle and seek out a space in which to escape.

My work is emotional and embodies a relationship that falls between reality and dream, rather than a description of a specific story. My work utilizes images to provide hints and/or clues leaving the viewer to his or her own conclusions. Each individual viewer will have a unique way of seeing my work, according to the life experiences and psychological state that the viewer has at that time. I am attracted to a type of beauty that is flexible and uncertain, like a mood that is troubled and emotional, casual and sensitive. Imperfection indeed creates a new harmony. I have tried to metaphorically open a new space in my work to remind the viewers to interact with the piece. This allows them to dig out all the possibilities of the inner powers of the piece. Whether the reaction is positive or negative, it is an emotional response. This process of viewer creation promotes a way of seeking better solutions as well as other new energies.

When I create a piece, I feel like telling my viewers about my own stories. The interpretation and vision will be left up to my viewers to imagine and decide for themselves. I like to use direct and pure language to explain themes. I use simple and basic elements to do the job giving up unnecessary details in order to maintain the fundamental element of the inner meaning of the artwork. The clarity of the work creates an intellectual and emotional relationship with the viewers, rather than giving fixed anticipations and expectations. The exhibition space, in relation to the work, is meant to be a guiding or interpretive tool. The meaning of my work demonstrates a state of mind in everyday life: a friendly, familiar feeling. Therefore, I choose raw and ordinary materials to create familiarity, closeness, and to stir emotion. I hope to create an image containing a natural quality of tenderness and flexibility evoking the viewer's memories directly and peacefully. The purpose of using a white background is to give the effects of flatness, delicacy, ethereal and quiet. Differential light emphasizes the expansion of space, not only demonstrating clarity, but setting an assertive control of existence of "spirit." The molding and sense of light combine illusion and gender, suggesting that the activity of temperament is prone to meditation and spiritual freedom, at times drifting, at time rebellious.

The expansion of space creates a field with pressure, so the work is not fixed due to the various elements used, which also demonstrate the faces of vitality. During production, I work extemporaneously disregarding rules and boundaries. The freedom and diversity of artistic language enables me to find and channel my intimate needs of expression.


艺术创作是我面对真实自己的途径。 我试图把某种心境与精神状态以自己的方式表现出来。剥开面具表现人性本质是一种自我认识与反省的方式。





我的作品表达的是日常心态,是一种亲切,熟悉的感觉,所以我尽量选择平凡朴 素的材料,营造一种近距离的以及贴肤的幻觉,这些自然的特质会带来心态的柔软与弹性,唤起潜在的记忆,让人直接,安心地接近和感受作品。




Daily Lives

Creating art is a process of self-examination, and this process enables me to collect my thoughts. We live in complex time that is in many ways defined by excessive want, greed, and waste. We all pursue a good life, but in this pursuit, do we really have choices? Without recognizing or aspiring to a specific destination, my art is a record of everyday life. This gives me an opportunity to look at myself more closely.

We all react to materials, whether we find them attractive or frightening. The desire for stuff makes one greedy and afraid at same time. We privilege finished commodities, but not how they are packaged. We shop at Safeway, but care little for the plastic shopping bags (unless we save them to collect more garbage). We ignore the cardboard used for packaging many of the goods we consume. We are overflowing with stuff, but this stuff must be made available to us and it has to be packaged. This packaging embodies a history and its own special language. Releasing plastic bags and cardboard from useless connections to human character enables one to redefine them. Perhaps they point to new concepts. Maybe their individual qualities have been neglected with the development of the consumer society. These objects contain many meanings that overlap. They represent our lifestyles. Damage, chaos, survival, and fragility define their relationship with humans. Faith and doubt are expressed in the objects illustrating the relationships between complexity and balance, order and disorder, attraction and repulsion.

I try to move freely in my works. Vast space blurs the boundary of areas and life events melt into a repeated circle. This is both my life and my work.


藝術創作是一個自我內省的過程,我可以借助這個過程得以梳理自己的想法。 我們生活在一個看似複雜實質匱乏,處處充斥著貪婪和浪費的時代。除了對物質生活的無止境的追求我們還有別的選擇嗎?擁有更多就像一個失去意識的對特定目標的索取。我的藝術作品就是對日常生活的紀錄。這讓我有機會更近距離地瞭解自己。



A passage of '0'

Our keen awareness of life often transcends us to a realm of much deeper intuition ripened for our spiritual awakening. This spiritual awakening discerns the taste of an artwork. The realm of '0' has always inspired me to search for the rhythm of life's essence or its energy when released.

My works care more about life than a mere creativity expression of making arts. I've committed to connecting my life experience with life's changes evolving around the shape of '0'.

Often the ordinary objects in my life as tiny as a drop of water, a piece of withered wood branch or a handful of sand from nature can arouse my most delicate feelings for them. They frequently become my sources of inspiration to transform these '0s' into my artworks.

Because these materials come from nature and their simple elements among the creation, these subjects are my searches for the infinity without boundary. True beauty can only be discovered by ones who see the macro/ micro, subjective/ objective, art/ science, yin/ yang, east/ west,… and to have completed the incomplete. These contrasting properties strengthen my inner freedom to envision many imaginary spaces, their flexible elasticity, their infinite extension and permanency as implied by '0'.

'0' is my pursuit, a response to life's spirit essence or my Asian's taste of revelation in life. '0' has cleansed, filtered, distilled, accumulated and recorded every bit of my life experience to create an '0-energy' realm on canvas. The energy stored within '0' sphere is a condensed substance field to transform the complex to the common simple, the human physical to the divine and mystical. These imply a perpetuating force to continue along the ever changing universe.

Multiplying '0s' connected the fragmented visual points in the environment by giving birth to the organisms within the revolving circles of earth. Every object in life rotates around a full cycle of birth, beginning, crack, mutation, merge, death, end, rebirth as depicted in my '0' series. The revitalizing energy helped me tremendously to inject life into my arduous art making process. From these '0s', I have found my loss to replenish my future consistently. These joining power has energized my consciousness to express their fluidness and richness among the passage of time.

The spiraling '0s' reinforced my realization of the interrelated succession of the ecosystem. These '0s' refreshed myself with a 'beginner's heart' in the daily endeavors of mine. They always offered me a space or realm with progress to do a house cleaning of my mind to free my self-centered soul to reconnect with and resume an original spirit. When I little think of achievement or think of self, I've become a true beginner to really learn something. A beginner's heart often owns a gentle spirit of compassion. When my heart is compassionate, I then notice that I can start to re-examine the trueness of life and learn from life.

As an artist, I pray sincerely that my artworks may interact with viewers to initiate more caring heart for making the world a better place together where we all live with greater compassion.

For me, '0' is Zen, an awakening, a realization, a compassion surpassing the form or format. They recorded many traces I've treaded upon in life to seek the spirit within the living organisms via the language of their own to represent their portraits of nature.

'0' is Tao, it is in my passage rather than my path. As I looked into the spirit of cosmic change- I tried to register the eternal growth which returns to itself to produce new forms in harmony, in pureness and in oneness.


“0”成为我艺术表现上的一个焦点是因为它超越了我们通常认为的形状和意义,进入了一种即简单又复杂的深层精神领域。 像是一条河流,“0”形象沿着我的思维途径,展现给我一个无限的想象空间。






创作的本质是关念的表达, 无论我们使用何种材料与表现方式,其拓展空间是存在的。只有在不局限于一种固有概念的约束下,思维与表达的自由才能实现。