A: Personally, I really like films and often go to see them on my own. However, I feel it more as an enthusiast and do not take the initiative to analyse and study it. One of my favourite directors is Tsai Ming-liang, whose ability to capture the subtleties of emotions and the way he uses images to convey them has inspired me greatly.
I think the greatest influence of film on my creativity is that it gives my images a cinematic quality. Whether it is the dynamic sense of framing or the portrayal of still life, I will unconsciously incorporate cinematic techniques into my expression, giving the depicted objects a storytelling and flowing sense of view. It's like taking a "frame" of a coherent film. I try to create a sense of the passage of time and emotional changes in my works, so that the viewer can feel an emotional resonance through the works, just like following the characters in a film, and resonating with the development of the plot.
Q: What kind of process do you think painting is for you?
Installation view of The Sting of Time, January 6, 2024 - February 8, 2024, BACKSTAGE ART, Shanghai © Lvhan Zeng. Courtesy Nan Ke Gallery, photographed by AHstudio
A: For me, painting is a process of deep exploration and expression. It is not only a means of artistic creation, but also a way for me to understand myself, perceive the world and process my emotions. While painting, I can vent my emotions and have the opportunity to meditate and review. When I create, I like to recall and dismantle the trivialities of my life, the fluctuations of my emotions, as well as my personal perception of abstract concepts such as time and loneliness. Through the flow of brushes on canvas, I am able to understand my emotions and thoughts more deeply and try to archive and express these inner experiences through images.
I see painting as a way of expression and communication. Each painting is my interpretation of a particular emotion or theme and at the same time an opportunity for emotional exchange between me and the viewer. I hope that the viewer will feel a sense of empathy when viewing my work, or that it will trigger their own thoughts.
Installation view of The Sting of Time, January 6, 2024 - February 8, 2024, BACKSTAGE ART, Shanghai © Lvhan Zeng. Courtesy Nan Ke Gallery, photographed by AHstudio
Q: Can you choose a few paintings that are important to you personally and explain them to us?
A: My creations start from my personal experience, and may incorporate a lot of personal memories and feelings. However, I try my best to show them through the empty mirror-like images as in a film narrative, and convey the "emotion" in a more "moody" way, so that more people can find resonance and their own interpretations from the images.
Waiting to be used" is a very important painting for me. A piece of soap is the embodiment of myself in my eyes. At one time I felt that approaching others was like soap, requiring dedication and consuming myself. Therefore, in this painting, the cold colours are a lonely mood, but the edges of the brushstrokes are soft, perhaps a manifestation of my still-existing desire for affection. Reading, on the other hand, is a relatively new endeavour for me. I extract and frame a dynamic moment in life, and try to use woodblock drawing to present a smoother effect. Focusing on the pictorial re-framing of everyday details is interesting to me.
Installation view of The Sting of Time, January 6, 2024 - February 8, 2024, Nan Ke Gallery, Shanghai © Lvhan Zeng. Courtesy Nan Ke Gallery
