Wenjie Zhou

Soft Stains II (2021)
Acrylic in satin 137 x 44 cm.

Psychic Formations. Elsewhere, Within Here. (2022)
Acrylic in and on sheer cotton. 165 cm x 93 cm.

Purple Little Mass (2023)
Acrylic in and on canvas. 19 cm x 39 cm

Brush Talk. I Think, Therefore I Flow Into Another. To Grow (A) Painting(s) (2022)
Water, sugar (as binder and life substance), pigment on primed wood. 270 cm x 90 cm. Installation view of the piece’s entirety.

Circulating Bodies (2020)
Acrylic, polycotton. 120 cm x 200 cm

A Thousand Mountains In A Speck Of Dust. Breathing Through Grotto-heavens. (2024)
Water, acrylic in and on cotton, silver-foiled viscose frame. 805 x 100 cm. (installation view)

Strata (2023)
Acrylic, polycotton. 200 cm x 61 cm

Soft Stains (Thinking Like A Mountain) (2021)
Acrylic in satin. 50 cm x 500 cm

In Mountains And Waters (2019)
Chinese ink, Xuan paper, brick, plastic foil, stoneware, mirror, glass, black tape. 500 cm x 800 cm

The body is the body of the world, the world’s body is my body. (2019)
Latex, oil, plastic, acupuncture needles, clips. 95 cm x 75 cm

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front shot of the work's entirety

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I work with the pulsating poetics of painting, on and around its boundaries, stubbornly, in and out. The central force of my practice is a curiosity with the motion of being. Moving with water, I paint wet togetherness, and landscapes of my internal situations. Ancient Shanshui paintings (paintings of mountain and water) fuel my imagination. Many of my concerns have been centring around the question of how painting (despite and because of its historical burdens) is able to continuously open up portals to new worlds in ourselves so as that we look anew at the world we are in today. While intrigued by the question of how image is impregnated by meaning, I explore how the painterly, in its various disguises, can direct consciousness to an instant/a space of intellectual and emotional complex that expands one’s being. I attempt to generate compositions of liquid material in a perpetual state of becoming, synthesizing creation and dissolution. The paint surface is a kinaesthetic field of reactions and relations where feelings, thoughts and considerations happen in both chronological format and continuous present, looping, returning, self-reflecting. The ancient Shanshui painters conceived that breath, brush, and ink are in a three way sexualized relationship with breath being the element that connects the other two. Every bit as alive as the body that can breathe, painting is an act of enacting living. On the paint surface, I push, pull, whirl around with controlled accidents and bet on miracles. Fluid and interlocking shapes appear. Paths intertwine and new relationships form. To paint is to dance with and think about nature at the same time.I hold MFA from The Royal Danish Academy of Fine Arts. Born in Shanghai, I work and live in Copenhagen.Reach me here: [email protected]