日照朱家角
文/ 柯好理

金杜艺术中心将于6月7日至7月27日推出艺术家郑皓中在北京的首次个展。展览将展出艺术家从2014年创作至今的26件油画，是艺术家在山东日照和上海朱家角两个工作室完成的。本次展览旨在展示艺术家丰富多彩的绘画方式，以不同系列的代表作品展现不同的主题和风格创新。

展览中作品涉及不同的主题：一个名为“漫游者”的人物，这个模特在艺术家工作室里住了半年多，他们开始在同一幅画布上共同创作；还有围绕模特邱晨的系列，他们曾经是最要好的朋友，并且艺术家在2013年至2016年间集中以他为原型进行创作；从2017年开始的《自画像》系列，表现出不同的技巧和风格，这些技巧和风格是由他的特定心态驱动的；在《自然》系列中，时间既是一种媒介，也是一种主题。他记录了四季分明，时间变幻下的柿子树的生命。最后一个系列在艺术家完成西藏的旅行后也开始了。

在郑皓中自己的论述中，他的实践演变为一种神秘主义的时间谈话：变幻莫测，常常不可预估。图片按照自己的创作累积的持续过程，以及日常生活和经验划分不同的层次。艺术家能够在表现、抽象和具象之间毫不费力地转换 —— 总是有目的性地将他亲近的人和地方的图像融合在一起。这样一来可能“显得”很随意，很快速，但总是非常“完整”的作品。他的作品常常非常赤裸裸地留下一些空白，让人惊讶又不安，故意暴露出绘画空间与真实空间的脱节。然而，艺术家并没有玩花活，他能极好地控制画面，不管画面上的元素表现多少，画面是否被铺满。

由于喷漆、水彩、厚薄油、丙烯颜料以及综合材料等各种媒介经常直接粘在表面，郑皓中回避了那种典型艺术史易于理解的风格，能够更直接地探索概念的过程，通过这个过程可以看到他对世界的当代理解。 他明白绘画处处可见的可能性; 以及如何选择取舍的能力。他的这些作品的素质被绘画的多样性所界定，这种多样性同时也突出了每件作品独特的形式特征。

郑皓中的手法与其说是明确不如说是神秘，让人们想到纳比画派、爱德华·维亚尔、皮耶·波纳尔，或者亨利·马蒂斯、大卫·霍克尼、迈克尔·克莱伯、大卫·奥斯特洛夫斯基。 随着每一个谨慎的姿态或线条，他，像他们一样，不接受任何理所当然。每张图片都提出了同样的问题 —— 这是一幅画吗？ 但每次都有不同的回答。


Sun shining on Zhujiajiao
Texts/ Tim Crowley

KWM artcenter is pleased to present Zheng Haozhong's first solo exhibition in Beijing from 7 June to 27 July 2018. The exhibition presents 26 paintings painted between 2014 to the present made primarily at two locations: Rizhao and Zhujiajiao. The exhibition aims to show the broad range of his inquisitive and pluralistic approach to painting with representative works from the different studios revealing different themes and stylistic innovations.

The exhibition includes subject matter involving a character called ‘Wanderer’, a man who lived in the artist’s studio for more than half a year where they began to paint each other on the same canvas. There are works based around his once loyal friend, Qiu Chen, with whom he worked between 2013-16 as well as self-portraits from 2017 showing different techniques and styles motivated by his particular state of mind and present way of life at that moment. In the nature series time acts as a medium as well as a subject. He records the life of a persimmon tree over the 4 seasons compressing time. Finally there is a new series of portraits painted straight after a voyage in Tibet in 2018.

Zheng Haozhong talks of his practice as ever evolving as a mystic talks of time: ever changing, mutable and often, immeasurable. The pictures are layered with the accumulative durational process of their own creation as well as everyday life and experience. He is able to move effortlessly between representation, abstraction and figuration - always fusing imagery motivated by the people and places close to him. The work can appear casual and, at times, quickly made but they are always complete. His compositions can be audaciously bare-boned leaving an emptiness which is surprising and a little unnerving exposing a disconnection between real and pictorial space. However, his approach is honest and direct. His skill is clearly witnessed in his ability to make the picture work regardless of how much or little material is on the painting surface or how much surface area is touched.

Exercising various techniques, such as spray paint, watercolour, thick and thin oil and acrylic paint and multimedia, often stuck directly on the surface, Zheng Haozhong has developed a style that shuns the canonical understanding of art history, in favour of exploring conceptual processes through which a contemporary comprehension of his world can be viewed. He knows the possibilities for paintings lie all around us; the skill is understanding how to frame the selection. The works are defined by this variety in painting which at the same time serves to highlight each works distinct formal qualities.

There is more curiosity than certainty in Zheng Haozhong’s gestural play calling to mind everyone from the Nabis painters, Edouard Viullard and Pierre Bonnard, or Henri Matisse to David Hockney, Michael Krebber or David Ostrowski. With each economical gesture or line, he, as they, takes nothing for granted. Each picture proposes the same questions - Is this a painting? How is this a painting? but with a different argument each time.

日照朱家角
文/ 柯好理

金杜艺术中心将于6月7日至7月27日推出艺术家郑皓中在北京的首次个展。展览将展出艺术家从2014年创作至今的26件油画，是艺术家在山东日照和上海朱家角两个工作室完成的。本次展览旨在展示艺术家丰富多彩的绘画方式，以不同系列的代表作品展现不同的主题和风格创新。

展览中作品涉及不同的主题：一个名为“漫游者”的人物，这个模特在艺术家工作室里住了半年多，他们开始在同一幅画布上共同创作；还有围绕模特邱晨的系列，他们曾经是最要好的朋友，并且艺术家在2013年至2016年间集中以他为原型进行创作；从2017年开始的《自画像》系列，表现出不同的技巧和风格，这些技巧和风格是由他的特定心态驱动的；在《自然》系列中，时间既是一种媒介，也是一种主题。他记录了四季分明，时间变幻下的柿子树的生命。最后一个系列在艺术家完成西藏的旅行后也开始了。

在郑皓中自己的论述中，他的实践演变为一种神秘主义的时间谈话：变幻莫测，常常不可预估。图片按照自己的创作累积的持续过程，以及日常生活和经验划分不同的层次。艺术家能够在表现、抽象和具象之间毫不费力地转换 —— 总是有目的性地将他亲近的人和地方的图像融合在一起。这样一来可能“显得”很随意，很快速，但总是非常“完整”的作品。他的作品常常非常赤裸裸地留下一些空白，让人惊讶又不安，故意暴露出绘画空间与真实空间的脱节。然而，艺术家并没有玩花活，他能极好地控制画面，不管画面上的元素表现多少，画面是否被铺满。

由于喷漆、水彩、厚薄油、丙烯颜料以及综合材料等各种媒介经常直接粘在表面，郑皓中回避了那种典型艺术史易于理解的风格，能够更直接地探索概念的过程，通过这个过程可以看到他对世界的当代理解。 他明白绘画处处可见的可能性; 以及如何选择取舍的能力。他的这些作品的素质被绘画的多样性所界定，这种多样性同时也突出了每件作品独特的形式特征。

郑皓中的手法与其说是明确不如说是神秘，让人们想到纳比画派、爱德华·维亚尔、皮耶·波纳尔，或者亨利·马蒂斯、大卫·霍克尼、迈克尔·克莱伯、大卫·奥斯特洛夫斯基。 随着每一个谨慎的姿态或线条，他，像他们一样，不接受任何理所当然。每张图片都提出了同样的问题 —— 这是一幅画吗？ 但每次都有不同的回答。


Sun shining on Zhujiajiao
Texts/ Tim Crowley

KWM artcenter is pleased to present Zheng Haozhong's first solo exhibition in Beijing from 7 June to 27 July 2018. The exhibition presents 26 paintings painted between 2014 to the present made primarily at two locations: Rizhao and Zhujiajiao. The exhibition aims to show the broad range of his inquisitive and pluralistic approach to painting with representative works from the different studios revealing different themes and stylistic innovations.

The exhibition includes subject matter involving a character called ‘Wanderer’, a man who lived in the artist’s studio for more than half a year where they began to paint each other on the same canvas. There are works based around his once loyal friend, Qiu Chen, with whom he worked between 2013-16 as well as self-portraits from 2017 showing different techniques and styles motivated by his particular state of mind and present way of life at that moment. In the nature series time acts as a medium as well as a subject. He records the life of a persimmon tree over the 4 seasons compressing time. Finally there is a new series of portraits painted straight after a voyage in Tibet in 2018.

Zheng Haozhong talks of his practice as ever evolving as a mystic talks of time: ever changing, mutable and often, immeasurable. The pictures are layered with the accumulative durational process of their own creation as well as everyday life and experience. He is able to move effortlessly between representation, abstraction and figuration - always fusing imagery motivated by the people and places close to him. The work can appear casual and, at times, quickly made but they are always complete. His compositions can be audaciously bare-boned leaving an emptiness which is surprising and a little unnerving exposing a disconnection between real and pictorial space. However, his approach is honest and direct. His skill is clearly witnessed in his ability to make the picture work regardless of how much or little material is on the painting surface or how much surface area is touched.

Exercising various techniques, such as spray paint, watercolour, thick and thin oil and acrylic paint and multimedia, often stuck directly on the surface, Zheng Haozhong has developed a style that shuns the canonical understanding of art history, in favour of exploring conceptual processes through which a contemporary comprehension of his world can be viewed. He knows the possibilities for paintings lie all around us; the skill is understanding how to frame the selection. The works are defined by this variety in painting which at the same time serves to highlight each works distinct formal qualities.

There is more curiosity than certainty in Zheng Haozhong’s gestural play calling to mind everyone from the Nabis painters, Edouard Viullard and Pierre Bonnard, or Henri Matisse to David Hockney, Michael Krebber or David Ostrowski. With each economical gesture or line, he, as they, takes nothing for granted. Each picture proposes the same questions - Is this a painting? How is this a painting? but with a different argument each time.