Zhang Jinhui

The Night Watch
2015
Oil on canvas
180×150cm

Zhang JInhui

Bear and Moths
2013
Oil on canvas
150×180cm

Zhang Jinhui

A Tree
2016
Oil on canvas
150×72cm

Zhang Jinhui

Sapling
2015
Oil on canvas
40×20cm

Zhang Jinhui

They
2012
Oil on canvas
168×136cm

Zhang Jinhui

Pine Tree and Bird
2017
Oil color, clothe, thread and glue
120×76cm

Zhang Jinhui

Pine Tree II
2016
Oil on canvas
60×30cm

Zhang Jinhui

Pine Tree
2015
Oil on canvas
40×40cm

Zhang Jinhui

In the Water
2017
Oil on canvas
120×120cm

Zhang Jinhui

Water
2017
Oil on canvas
50×100cm

Zhang Jinhui

Three Beauties
2012
Oil on canvas
180×150cm

Zhang Jinhui

Three Trees
2015
Oil on canvas
60×30cm

Zhang Jinhui

Three Cypress
2016
Oil on canvas
72×150cm

Zhang Jinhui

Peacocks
2013
Oil on canvas
168×136cm

Zhang Jinhui

Moths
2014
Oil on canvas
180×150cm

Zhang Jinhui

Big Bird
2016
Oil on canvas
100×50cm

Zhang Jinhui

Silence II
2016
Oil on canvas
100×50cm

Zhang Jinhui

Silence
2016
Oil on canvas
150×72cm

Zhang jinhui

Cypress
2017
Oil on canvas
100×50cm

1969 Born in Kaifeng, Henan Province, China
Currently teaches at South China Agricultural University

Zhang Jinhui expresses the emotion of ‘restraint’ in the form of line, agreeing with the philosopher that “a person who cannot be restrained is not a free person.” She uses “restrained lines” to complete her artistic expression: “All my paintings, whether large or small, start with a line. When I look at each painting, even after a long time, I know exactly where it started.” The woman painter’s paintings begin with a single line and then carefully draw one after the other, sparse lines gradually enriching, abstract imagery becoming concrete, a whole world gradually revealing itself. She sees the line as an outlet for her spirit, a flowering of pessimism, by which she accomplishes spiritual redemption, in such a simple and direct way that never allows for modification, because it is direct.

Start with a Line- Paintings by Zhang Jinhui

by Monica Dematte
“All of my paintings, whether large or small, begin with a line. Looking at them, even after a long time, I know exactly where I started.” These words, written by Jinhui a few days ago with this exhibition in mind, along with the phrase “before I begin, I have a clear picture in my head,” both made a strong impression on me. They made me think of the first stroke of a paintbrush, which according to Chinese painting tradition, through its appearance on untainted paper or silk, summons up a duality out of nothingness, or rather, out of “emptiness” – a duality which in turn produces what is known as the “ten thousand beings.”

Touching the Real Word by Sincere Oneself

by Yan Li

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