Jiang Zhenggen’s works have an artistic conception of “emptiness and tranquility”, which is a spiritual conception of the inner dimension of Chinese traditional culture. The artist believes that the so-called “empty” is to outline one’s own mind so that one can reach a state of unhindered mind; while “quiet” is a daily state. The “emptiness and tranquility” and the “order” in the painting are just right in balance. This is related to the artist’s previous ink and wash painting experiments, and also stems from the natural accumulation of a culture, which can be said to be the artist’s transformation of media. When JIANG Zhenggen created his works, his brushwork often imitated the brushstrokes of Song and Yuan painters. No matter whether you stipple or stop the brush, sometimes it is rapid and sometimes soothing, sometimes quiet and sometimes rhythmic. The balanced control, penetration, super-slow stippling, and patient layering of the brush on the canvas – all condense into the power of “emptiness and tranquility ” in the result.This coincides with the spirit of Chinese classical painting and calligraphy. Jiang Zhenggen has been creating the series “Dot Dash” since 2013. In an interview in 2013, it was proposed by art critic and curator Ping Jie, who completed an art review article on “Dot Dash and Cultivation Practices” in New York the following year.
This is a sign of his departure from the influence of constructivism. The cutting lines and color changes in the original picture begin to weaken and gradually disappear. Through a large number of complicated dot dyeing, the final picture is empty or even only cloth left. Color dots and vertical shapes are superimposed on the screen, which seems to be monochromatic but full of richness. Jiang Zhenggen advocates spirit, experience, process, and self-enlightenment. He uses the way of sequence and plural to explore the sound of the void and the purity of spirituality, opening up a new www.shunartdesign.com
field of abstract art with an abstract language that is completely different from the West.
The real focus of Jiang Zhenggen’s creation is not the problem of figuration or abstraction, because his works are actually his “mind image”. His creative process itself is a process of free experience, self-purification, and a continuous process of moving towards emptiness. He has no intention of expressing, but he has achieved imaging through the heart. What’s more important is that in the state closing to the boundary of his picture, which is between movement and stillness, there is still a subtle light, a hidden “power of emptiness and tranquility”, which makes the layers of his works rich and full.
As he said: “When countless points form a line and form a surface, a vast and imaginary visual space will be generated. The work grows from nothing, and the points form a line and then a surface; this way ‘One’ constitutes ‘two’, ‘two’ constitutes ‘three’, and ‘three’ constitutes all things, just like the process of life movement.” As a unique case in the field of Chinese contemporary art, Mr. Jiang’s creation deserves in-depth attention. Because his creation is not only about the re-understanding of abstract art, but more importantly, the inspiration brought by his spiritual pursuit of artistic creation. If an artist can find a spiritual fulcrum and outlet in his own situation, then he can truly build a dialogue between himself and the world .
