素经
打破文化界限，描绘万物共生的奇幻世界。
文：黎扬扬
Zhao Qing's solo exhibition “Su Jing” is on view at 4C Gallery, Los Angeles from August 31 to September 25, 2024, showcasing highly personal paintings such as The Flourishing of Wind and Water, Tea Fairy, and The Three Finer Spirits and Seven Baser Instincts Souls, along with sculptures. Zhao Qing’s works display the richness and multidimensionality of contemporary Chinese art, reflecting the artist’s aesthetic exploration at the intersection of time and culture.
4C Gallery emphasizes the presentation of conceptual art, focusing on exploring deep social, psychological, and cultural issues through artistic forms. Through Zhao Qing’s works, 4C Gallery not only showcases the artist’s creativity and reflections but also provides a platform for the dissemination and exchange of traditional Chinese culture abroad, fostering the flourishing of Chinese culture and further promoting and deepening artistic exploration and practice.
In her creations, Zhao Qing skillfully blends materials like herbs and mineral pigments, utilizing ancient techniques to express her reverence and reflection on the forces of nature and the essence of life. She believes that all things have a spirit, and she incorporates elements and concepts from traditional Chinese culture, such as the “Three Finer Spirits and Seven Baser Instincts Souls,” the “the five solid organs and six hollow organs,” the balance of Yin and Yang, and the Heavenly Stems and Earthly Branches, allowing her works to grow and merge organically. Her pieces are filled with a fusion of ancient and contemporary cultures, featuring the profound imagery of traditional culture alongside the dynamic expression of modern aesthetics. This creates an experience where viewers can explore the harmony of coexistence among all things, as if navigating through the intertwining of time and space. Through these works, Zhao Qing breathes new life into traditional culture, allowing ancient spiritual values to be continued and regenerated in modern artistic forms. While promoting and extending traditional culture globally, she hopes we can pause from our increasingly fast-paced lives and feel the resonance between our souls and the energy of the universe.
"Do not ignore the world beyond material things, especially their own inner world. "
Q: Yangyang Li
A：Qing Zhao
Q: Your artistic creations primarily revolve around traditional Chinese culture, including traditional medicine, mythology, and Daoist philosophy. What inspired you to incorporate these traditional elements into contemporary art?
A: As a child, I enjoyed reading Classic of Mountains and Seas because of the little monsters and animals it described. These depictions opened the door to my imagination, and I began trying to draw them myself. The more I drew and revisited the stories, the more I began to think, for example, about how the character “尾” (tail) is still used as a measure word today, as in “一尾鱼” (one tail of fish) or “两尾鱼” (two tails of fish). Also, the number nine represents the utmost Yang, symbolizing the extreme or the pinnacle, such as the phrase “九五至尊” (Nine-Five Supreme) in the I Ching. So, when a place is said to have a “Nine-Tailed Fox,” is it because there’s a fox with nine tails, or simply because there are many foxes in that area? With these questions in mind, I started to look for answers in other places, and it was during this time that a seed was planted, which later blossomed into the central theme of my current painting style.
Q: What’s the mode of your creative work? For example, how do you plan the creative process of a piece of work?
A: My current paintings can be roughly divided into two categories: one is more labor-intensive, with larger canvases, and the other consists of spontaneous sketches. Some people nurture their paintings, while others are nurtured by their paintings. Generally speaking, a painting usually starts with a vague idea or direction. Once this thought takes shape, I begin to unconsciously or consciously gather related inspiration from everyday life. When the idea becomes clear and concrete, I start to systematically research, collect references, and create drafts. Sketching, on the other hand, is something I do whenever inspiration strikes, which is the part I enjoy the most.
Q: In your works, you experiment with mixing crushed herbs and mineral pigments. What artistic concepts and intentions are behind this unique choice of materials?
A: The initial motivation was that I didn’t want my work to remain limited to paper-based forms, so I’ve always been experimenting with different materials and methods of expression, while also continuing to explore the possibilities on paper. The idea of grinding herbs to make pigments came from the Chinese term
“服气” (fuqi). In modern usage, this word primarily refers to accepting or being convinced by someone’s ideas, approach, or even their energy, resonating on the same frequency and benefiting each other. In ancient times, there was a healing practice of wearing herbal sachets, with the herbs inside chosen to complement and benefit the wearer’s internal organs, helping to enhance energy and improve the body’s overall atmosphere.
Building on this concept, in my new series of paintings focused on traditional Chinese medicine, I’ve paired corresponding herbs and applied them to parts of the painting that align with areas of the body. This reflects the idea of “服气” and also aims to convey more than just a visual experience—offering a multi-dimensional output and message.
Q: As a creator who transitioned from the advertising industry to a full-time artist, how do you view the impact of advertising work on your art creation? What connections or contrasts do you see between the two?
A: The advertising industry developed my sense of teamwork and decision-making skills for maximizing efficiency within deadlines, but this is a double-edged sword. On the positive side, this work experience made me logical and methodical, which benefits me not only in my creative work but in other areas as well. On the downside, I believe that being overly rational and relying on experience can limit my creativity and make me overly focused on control during the creative process.
About Artist
Zhao Qing was born in Henan and currently lives and works in Jingdezhen. She graduated from the Animation School of the Communication University of China and previously served as the Creative Director at Ogilvy, a 4A advertising agency. In her works, Zhao Qing deeply explores how traditional Chinese culture connects with modern life and individual spirit through mediums such as painting on paper and porcelain, ceramics, and sculpture. In the early stages of her career, Zhao traveled the world in search of inspiration, drawing artistic nourishment from traditional Chinese medicine, mythology, and Daoist philosophy, which helped shape her unique creative perspective.
Q: What is your view of the universe, religion, or the world?
A: This is a broad question, but the overarching guiding principle that applies to all possible answers is: “Perception is always subject to bias, and there is no absolute right or wrong, so right or wrong doesn’t matter—what matters most is your own choice.” Some people play the big bad wolf, some play the little white rabbit—just go with the flow and experience it.
Q: How has the reclusive lifestyle in Jingdezhen influenced your artistic expression?
A: The slow-paced life in Jingdezhen has gradually shifted my result-oriented behavior. I’ve started to enjoy the process itself of doing things. Since I came to Jingdezhen, I’ve slowly begun to play with clay and fire ceramics, taking advantage of the right time and place. To me, this is an industry where heaven and man create together: the addition of glazes, the atmosphere inside the kiln, the kiln’s altitude, and the humidity in the air all influence the final outcome of the ceramics. It’s not a logical equation where you see exactly what you get or that you’ll receive something equivalent to what you put in.
Under this method, I’ve slowly loosened control in my creations, allowing for accidents and the possibility of anything happening.
Q: Your works aim to break cultural boundaries and depict a fantastical world where all things coexist. Could you elaborate on the impact you hope these concepts will have on your audience and society?
A: I hope people will not ignore the world beyond material things, especially their own inner world.
Q: What advice do you have for young artists?
A: Try as many things as you can within your limits, and experience life as much as possible. Painting isn’t a goal in itself; it’s the natural result of living fully.
Q: What are your future creative plans?
A: I hope to continue delving deeper into traditional cultural themes, experimenting with different forms of artistic expression, and creating more possibilities. I also want to bring art into everyday life by developing various products. Additionally, I aim to read, listen, and exercise more.
