View Zhang Xiaogang Artist Exhibitions and Paintings

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Zhang Xiaogang's paintings engage with the thought of identity within the Chinese culture of collectivism. Basing his work around the thought of 'family' -immediate, extended, and societal - Zhang's portraits depict an endless genealogy of imagined forebears and progenitors, each unnervingly similar and powerful by miniature difference.

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Zhang Xiaogang is very much a stock of the Chinese art academy system, and out of this legacy he has developed an iconography and identified a extra sensibility that in many ways define this era. Because Zhang's footing is within the academy system, therefore the system may also claim prestige for his success. So it follows that Zhang should be looked upon as a paradigmatic success model of the Chinese art world.

Bloodline and Amnesia and Memory, the two series that have made Zhang's prestige in the 1990s, focus on portraiture, a branch underlined by concerns around the optical portrayal of the Chinese figure, especially as it involves the adaptation of western classical painting technique to local needs.Often painted in black and white, Zhang's portraits translate the language of photography into paint. Drawing from the generic capability of formal photo studio poses and greyscale palette, Zhang's figures are nameless and timeless: a series of personel histories represented within the exact confines of formula. The occasional splotches of colour which interrupt his images generate aberrant demarcations, reminiscent of birth marks, aged film, social stigma, or a lingering sense of the sitter's self assertion.

Incorporating the aesthetic of customary Chinese charcoal drawing, Zhang's style wavers between the embellishment of animation and stoic flatness. Muted and compliant, Zhang's extended house convey personel identity straight through their unalterable corporeal features: too big heads, tiny hands, long noses, and subtle alterations in hairstyle give clues to intimate characteristics and stifled emotions. These dream-like distortions give a complex psychological dimension to Zhang's work, heightening the tension of regulated claustrophobia, and initiating suggestive record readings.

Conclusions:

Zhang Xiaogang's art has come to be a canon of contemporary Chinese oil painting, and its merits depend very much on the fact that he has found new solutions to harnessing western classical academic technique (a standard in Chinese academies) to turn it into an indigenous artistic language.

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If you want any data about Zhang Xiaogang or looking for his paintings please visit us on http://www.saatchi-gallery.co.uk/artists/zhang_xiaogang.htm

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