zeng jianyong

ZENG JIANYONG

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.

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The Header No.19Ink and watercoloron hand-made paper144.3 x72 cm (56 3/4 x 28 1/4 in)2007 8

The Header No.20Ink and watercolor

on hand-made paper 144.3 x72 cm (56 3/4 x 28 1/4 in)

2007 9

The Header No.49Ink and watercoloron hand-made paper144.3 x72 cm (56 3/4 x 28 1/4 in)2007 10

The Header No.51Ink and watercolor

on hand-made paper 144.3 x72 cm (56 3/4 x 28 1/4 in)

2007 11

The Header No.50Ink and watercoloron hand-made paper144.3 x72 cm (56 3/4 x 28 1/4 in)2007 12

The Header No.48Ink and watercolor

on hand-made paper 144.3 x72 cm (56 3/4 x 28 1/4 in)

2007 13

The Header No.53Ink and watercoloron hand-made paper72 x 144.3 cm (28 1/4 x 56 3/4 in)2007 14

The Header No.38Ink and watercolor

on hand-made paper72 x 144.3 cm (28 1/4 x 56 3/4 in)

2007 15

The Header No.52Ink and watercoloron hand-made paper72 x 144.3 cm (28 1/4 x 56 3/4 in)2007 16

The Header No.54Ink and watercolor

on hand-made paper72 x 144.3 cm (28 1/4 x 56 3/4 in)

2007 17

The Header No.55Ink and watercoloron hand-made paper72 x 144.3 cm (28 1/4 x 56 3/4 in)2007 18

The Header No.58Mineral pigment

on hand-made paper144 x 144 cm (56 3/4 x 56 3/4 in)

2007 19

The Header No.73Ink and watercoloron hand-made paper90.2 x 73.4 cm (35 1/2 x 28 3/4 in)2007 20

The Header No.57Ink and watercolor

on hand-made paper144 x 144 cm (56 3/4 x 56 3/4 in)

2007 21

The Header No.46Ink and watercoloron hand-made paper90.2 x 73.4 cm (35 1/2 x 28 3/4 in)2007 22

The Header No.26Ink and watercolor

on hand-made paper 90.2 x 73.4 cm (35 1/2 x 28 3/4 in)

2007 23

The Header No.69Ink and watercoloron hand-made paper90.2 x 73.4 cm (35 1/2 x 28 3/4 in)2007 24

The Header No.44Ink and watercolor

on hand-made paper 90.2 x 73.4 cm (35 1/2 x 28 3/4 in)

2007 25

The Header No.71Ink and watercoloron hand-made paper90.2 x 73.4 cm (35 1/2 x 28 3/4 in)2007 26

The Header No.67Ink and watercolor

on hand-made paper 90.2 x 73.4 cm (35 1/2 x 28 3/4 in)

2007 27

The Header No.70Ink and watercoloron hand-made paper90.2 x 73.4 cm (35 1/2 x 28 3/4 in)2007 28

The Header No.68Ink and watercolor

on hand-made paper 90.2 x 73.4 cm (35 1/2 x 28 3/4 in) 2007 29

The Header No.74Ink and watercoloron hand-made paper90.2 x 73.4 cm (35 1/2 x 28 3/4 in)2007 30

The Header No.72Ink and watercolor

on hand-made paper 90.2 x 73.4 cm (35 1/2 x 28 3/4 in)

2007 31

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

33

The Header No.64Ink 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

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Spare Time 24Ink and watercoloron hand-made paper52 x 52 cm (20 1/2 x 20 1/2 in) 2007 36

Spare Time 22Ink and watercolor

on hand-made paper52 x 52 cm (20 1/2 x 20 1/2 in)

2007 37

Spare Time 27Ink and watercoloron hand-made paper52 x 52 cm (20 1/2 x 20 1/2 in)2007 38

Spare Time 21Ink and watercolor

on hand-made paper52 x 52 cm (20 1/2 x 20 1/2 in)

2007 39

Spare Time 26Ink and watercoloron hand-made paper52 x 52 cm (20 1/2 x 20 1/2 in)2007 40

Spare Time 20Ink and watercolor

on hand-made paper52 x 52 cm (20 1/2 x 20 1/2 in)

2007 41

Spare Time 23Ink and watercoloron hand-made paper52 x 52 cm (20 1/2 x 20 1/2 in)2007 42

Spare Time 25Ink and watercolor

on hand-made paper52 x 52 cm (20 1/2 x 20 1/2 in)

2007 43

Spare Time 19Ink and watercoloron hand-made paper90.2 x 73.4 cm (35 1/2 x 28 3/4 in)2007 44

Spare Time 17Ink and watercolor

on hand-made paper 90.2 x 73.4 cm (35 1/2 x 28 3/4in) 2007 45

Spare Time 16Ink and watercoloron hand-made paper90.2 x 73.4 cm (35 1/2 x 28 3/4 in)2007 46

Spare Time 18Ink and watercolor

on hand-made paper 90.2 x 73.4 cm (35 1/2 x 28 3/4 in) 2007 47

Spare Time 15Ink and watercoloron hand-made paper90.2 x 73.4 cm (35 1/2 x 28 3/4 in)2007 48

Spare Time 14Ink and watercolor

on hand-made paper 90.2 x 73.4 cm (35 1/2 x 28 3/4in) 2007 49

Happy LifeInk and watercoloron hand-made paper90 x 90 cm (35 1/2 x 35 1/2 in)2007 50

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

Spare Time 1Ink and watercoloron hand-made paper90 x 90 cm (35 1/2 x 35 1/2 in)2007 52

Sunny dayInk and watercolor

on hand-made paper140 x 140 cm (55 x 55 in)

2007 53

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