Crafting Identity: The Intersection of Memory and Material in Yanni Zhang's Artistic Journey
Zhang Yanni, born in Jiujiang, Jiangxi, currently lives and works in Beijing. She holds a Master's degree from the Oil Painting Department of the Central Academy of Fine Arts and is a member of the China Artists’ Association. Her work focuses on themes such as identity, life, history, geopolitics, and individual differences.
Growing up in Jiangxi and now living in Beijing, how have your cultural roots and the diverse environments you’ve encountered influenced your artistic voice and the themes you choose to explore?
I was born and raised at the foot of Mount Lu in Jiangxi Province, a place often depicted by ancient Chinese literati and writers, known for its profound cultural atmosphere. I left my hometown at the age of 13 and moved to Beijing with my parents. Beijing, an ancient cultural capital, has the richest cultural and artistic atmosphere in China. As a result, I have lived in Beijing longer than in Jiangxi. These two environments have instilled in me a deep sense of cultural heritage and historical continuity, which significantly influences the way I express my art. Therefore, my works are centered around history and traditional culture.
The act of collage in your work is both a visual and metaphorical stitching together of different moments and experiences. Can you discuss how this method allows you to express the fluidity and fragmentation of time and memory?
The first time I thought of using traditional handmade Xuan paper for collage was partially because, as a child, I often saw elderly people using rice paste as a medium to glue handmade straw paper onto cloth. Layer by layer, they would create sturdy, durable, and beautiful cloth shoes. Another reason is that this handmade Xuan paper, as thin as cicada wings, is very transparent. When layered, the colors are captivating and reminiscent of the effect achieved in traditional Chinese gongbi paintings with multiple washes, similar to the indirect painting technique of European tempera, where the colors radiate from within. It's both enchanting and rich.
The first time I saw women's skirts forming fan shapes during dance, I immediately recognized that these fan shapes resembled lively and charming feminine figures. Throughout our lives, we go through many phases, each time playing different roles. Depending on who we are at any given moment, we choose different styles of skirts to embody the roles we play. Sometimes, we don't remember what we were thinking or what we did at the time, but when you see a photo of yourself in a skirt you wore back then, or when you find an old skirt buried in your wardrobe, it can awaken dormant memories. So, in my memory, each skirt serves as the best evidence of my mood and role at that particular time.
Your latest exhibition, "I Am Myself," suggests a journey of self-discovery and self-assertion. How has your understanding of self evolved throughout your career, and how is this evolution reflected in the works presented in this exhibition?
"I Am Myself" is a solo exhibition I created in 2023, showcasing experimental works from the past three years. This process represents my introspection and self-awareness. Who am I? This question troubles many people. There is an ancient Chinese saying: "It is noble to have self-awareness." What kind of person am I? Why am I "me" and not someone else? Only by solving the question of who "I" am can one truly become oneself and understand one's future direction and goals. Therefore, I started by reflecting on my childhood memories, reviewing my childhood, adolescence, and up to the present.
No one chooses their birth, so why am I "me"?
Duration 9, Mixed Media Painting; Chinese handmade Xuan paper and hemp paper, ink wash, Watercolor, Acrylic, Pastel, 30 × 30 cm.
Time 2, Mixed Media Painting; Chinese handmade Xuan paper and hemp paper, ink wash, Watercolor, Acrylic, Pastel, 30 × 40 cm.
I was born into a military family, so during my adolescence, my parents arranged for me to serve in the military. As a result, I often wore a green dress, and I noticed that green hues frequently appear in my final works. This role-playing was not something I genuinely liked or decided on my own. For a time, I avoided and rejected this experience, but it is an essential part of what made me "me." Therefore, I reconciled with my past life experiences. Facing my past, I realized that having a different life experience is not necessarily a bad thing.
Time 11, Mixed Media Painting; Chinese handmade Xuan paper and hemp paper, ink wash, Watercolor, Acrylic, Pastel, 30 × 40 cm.
Your process involves the meticulous use of traditional materials like handmade Xuan paper and hemp paper. What role do these materials play in your exploration of identity and time, and how do they contrast with the more contemporary techniques you employ?
During the experimental phase of my creation, I used dozens of types of handmade Xuan paper. In the end, I chose handmade hemp paper from Yunnan and 30% matured handmade Xuan paper from Xuancheng, Anhui. I prefer natural, unbleached handmade paper, as the texture and thickness of handmade paper are rarely uniform. This variation can produce different color changes during the coloring process, giving the work a warmth that is distinct from the uniformity of industrially produced paper. This warmth embodies the emotions and spirit of the artisans, which becomes an integral part of my artwork.
This collage work requires a long time to complete. Generally, the base colors are bright and vibrant, symbolizing the beautiful and joyful memories of childhood. As time goes on, more and more gray tones emerge, and the number of layers in the collage increases, gradually transforming into the current image.
I have previously experimented with modern techniques like printing, micro-spraying, and screen printing, but none of them captured the warmth I was seeking. It's similar to the feeling I had as a child watching my grandmother layer the soles of cloth shoes. The power that time and history impart is something modern techniques cannot replicate.
The fan shape appears prominently in your works as a metaphor for the passage of time. Could you elaborate on the significance of this shape in your personal memory and how it influences the narrative of your art?
As I mentioned earlier, the image of the fan shape came to mind when I saw the flowing skirts of dancers as they moved. Each fan shape represents a role I played during a particular period, symbolized by the skirt I wore at that time. Together, these countless fan shapes form the experiences of that period, with each skirt carrying a memory and a story. The collage effect created by this process is like a series of moments captured continuously in a movie, then edited and layered together. It mirrors the passage of time and youth, giving the image a strong sense of emotional impact and storytelling.
Free Will 11, Mixed Media Painting; Chinese handmade Xuan paper and hemp paper, ink wash, Watercolor, Acrylic, Pastel, 30 × 30 cm.
Free Will 6, Mixed Media Painting; Chinese handmade Xuan paper and hemp paper, ink wash, Watercolor, Acrylic, Pastel, 30 × 30 cm.
In your earlier works, you experimented with high-temperature porcelain. What drew you to this medium, and how do you see it as a continuation or departure from your current focus on materials like paper and collage?
Ceramic materials and handmade Xuan paper are both, in my heart, forms of language for expressing my artwork. I have always worked with ceramics, and my next solo exhibition will focus on ceramic works, while the Xuan paper collages will also continue. It's similar to choosing between expressing oneself in Chinese or English—language is merely a medium and a tool; the important thing is conveying the idea. I usually decide which language to use based on the content I want to express. I enjoy working with various materials, including wood, natural lacquer, metal, ancient ceramic shards, jade, glass, resin, and more. What matters most is the content I want to convey.
2018.8.10.Red, High Temperature Porcelain, 24 x 28cm.
2018.11.17. White, Yellow and Blue, High Temperature Porcelain, 28 x 28cm.
Your work frequently touches on issues of geopolitics, identity, and individual differences. How do these broader societal and cultural themes intersect with your personal experiences, and how do you navigate these intersections in your work?
I pay attention to and care about geopolitics, but I don't wish to be involved in it. I believe that professionals should handle professional matters. I hope my work objectively views real events from a third-party perspective. However, my earlier works could only express historical events within the limits of my understanding, and I did not intend to convey any personal political stance.
Your art has been exhibited both nationally and internationally, in venues ranging from the National Art Museum of China to the Nesh St. Petersburg Central Exhibition Hall in Russia. How do you perceive the global art scene's reception to Chinese contemporary art, and in what ways do you feel your work contributes to this ongoing dialogue?
Before 2017, I frequently participated in large-scale national art exhibitions, primarily showcasing oil paintings with historical themes. However, due to changes in my personal circumstances and some family issues, I encountered a creative bottleneck and began to doubt the significance of my work. As a result, I refrained from touching paint and canvas for five whole years. During this period, I turned my focus to ceramics, starting with craftsmanship and firing techniques, and delved deeply into studying the history and culture of ceramics. In 2023, I created a large jade installation art piece titled "Honor the Dead as the Living" for a contemporary art exhibition featuring international artists.
I feel that contemporary art places more emphasis on the thoughts and spirit within human nature. The thinking of Chinese contemporary artists is very dynamic, and the rebellious mindset influenced by uncontrollable, invisible forces makes their work more profound. I believe that my current creative state is becoming increasingly deep and mature, no longer confined to the simple content expressed through the singular medium of oil painting.
Your works often deal with the notion of "uncontrollable situations" in life that lead to anxiety and self-reflection. How do you translate these complex emotions into visual forms, and what do you hope viewers take away from this exploration?
What I want to convey by "uncontrollable circumstances" refers to the lack of control we have over our living environment and the social roles we play. People often feel a sense of insecurity when they are in situations beyond their control, and this insecurity can lead to anxiety. We are constantly losing ourselves in uncertainty, which drives the need for introspection and exploration to find our sense of self. This is also the conflicting emotion I express in my work.
Looking ahead, how do you envision your work evolving? Are there new themes or techniques you are interested in exploring, and how do you see your art continuing to reflect your personal experiences and philosophical inquiries?
I enjoy reading books on philosophy and psychology, and I hope to explore the values within human nature more deeply in my future artworks. The search for self and the contemplation of the question of "Who am I?" may continue to be a recurring theme in my work.
Recently, I have been working on comparing the natural patterns produced by kiln-transformed glazes and high-temperature kiln firing with those created by hand-painted images. I'm also researching the contrasting techniques of Chinese painting and Western painting. This solo exhibition, which may be held before the end of this year, will be a concentrated showcase of the ceramic works I have been creating over the past few years
Art on Screen
Editor: Christine Lee
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