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Painting (MA)

Lingrui Zhang

Lingrui Zhang (b.1994) was born in Anhui, China. Following on from a BA in Oil Painting at the China Central Academy of Fine Arts in Beijing, he continued with an MA in Painting at Royal College of Art in London. His work has been featured in a number of group exhibitions including: Final, not Over, Unit 1 Gallery, London (2020), Blessing in Disguise, Saint Maison Gallery, London (2020), Snapshot, Hockney Gallery, London (2020); Sunny Art Prize 2019 Exhibition, Sunny Art Centre, London (2019); The Hidden Dimension, Coningsby Gallery, London (2019), Antibody——Fresh Vision at C2 Space, North District, OCAT-LOFT, Shenzhen (2017); Undergraduate Students’ Graduation Artwork Exhibition of Central Academy of Fine Arts, CAFA Art Museum, Beijing (2017); and The Fictitious Present——INTER YOUTH, Art Museum of CAA, Hangzhou (2015).  

Contact

Instagram @larry_zhang_

Degree Details

School of Arts & Humanities

Painting (MA)

Lingrui Zhang's recent art practice mainly focuses on the pictorial and schema language referring to painting itself, in which the concept of ‘meta painting’ is used to develop the practice of relevant figurative painting. Lingrui Zhang’s painting behaviour has become a kind of muscle memory, and seems to pay more attention to the extension of painting medium as an ontology. How it participates in the broad visual observation of modern people in the contemporary context? Can the results of practice present the ‘self-cognition’ of images and paintings to a certain extent? Can it be free from the boundary between the painting object and the pigment materiality? Lingrui Zhang speculates on these questions and his thoughts are reflected in his art practice.

As Clement Greenberg advocated, modern art aims to explore and present the nature of its own media, Lingrui Zhang hopes that his works would be presented to show how images and paintings reflect themselves, rather than conveying the extended meaning of art or philosophy through painting language when creating and researching. Although the slightly nervous gestures and states of the metaphorical figures and still-lives often appear in his works, they are not metaphors of great practical significance, but more to bring the visual and psychological level of ‘confusion’ to the viewer, creating visual ‘errors and doubts'. In his view, these dramatic pictorial languages are more representative of the ‘illusion’ at the level of consciousness, which also echoes one of his painting ontologies he upholds, that is, the contradictory result of ‘a deception telling the truth’ is presented after the emotional state and time stagnation of a particular moment are injected into the two-dimensional plane. Moreover, the mottled traces of text mixed in the colour layers often appear in his works. He also pays attention to the use of text in paintings, trying to create a psychological separation between the works and the viewers that is reasonable but difficult to distinguish right from wrong. 

Where am I

Installation shot

The stretcher covered with grey-green fabric is the painting itself that in front of the viewer, the artist tries to realise the contradictory concept of ‘presenting a hidden painting’. He tries to indicate that the text itself in the painting is also the questioner who asks ‘where am I’ in the title. The answer may be the fabric in the painting (i.e. the printing or embroidery existing on the fabric), or the canvas itself of the whole painting (i.e. the text in the painting could also be a piece of pigment attached to the canvas as a material attribute). Then the content ‘I'm here’ becomes the answer to the question in the title. The word ‘here’ not only implies the two possibilities mentioned above, but could also be endowed with more likelihoods such as a particular context (studio, exhibition hall, online virtual space, etc) that the painting stays. Here the image provides its own metalanguage. The form of ‘Q & A’ arouses the viewer's thoughts about the instability and rationality of the context where the painting object is located.

Medium:

Oil on linen

Size:

160x120 cm
artworkconceptual paintingcontemporary artFigurativehidden paintingmeta paintingoil paintingpaintingPsychologicalrca2020representational paintingsomber

WYSIWYG

Detail No.1

Detail No.2

This work aims to present the appearance when the painting form gets involved in the basic observation methods that people are accustomed to in the contemporary digital era. In the eyes of the artist, it also comes from the discourse system provided by the issue of 'meta painting'. The figure appears in the painting is reading attentively, while the small rectangular area prematurely covering the surface is the local amplification effect of the book content. This is quite similar to the contemporary behaviour of ‘zooming in and out’ of an image on the electronic device screen, just like the local zooming effect generated by placing the cursor on the product image when shopping online. When people execute the command of zooming pictures given by the brain, their psychological appeal is usually to see clearer details of materials and textures. However, when the same behaviour occurs in the context of painting, due to the influence of some basic attributes of painting , such as timeliness, the contingency of stroke, colour and non-replicability etc, the painting products cannot provide more discernible details than the original image after being partially enlarged. The information that the viewer could receive is still interlaced strokes, and even the colour has an uncontrollable difference to some extent due to the needs of the painting process or the fact that two layers of painting take place at different time nodes. Lingrui Zhang attempts to capture the psychological gap that the viewers could not meet their habitual demands, and its reasons include the self-reference of painting. This kind of self-reference starts outside the art system and runs through the ongoing debate about contemporaneity.

Medium:

Oil on panel

Size:

60x60 cm

'Bang'

The moment when the girl goes from the unknown dimension outside the painting to the new space inside the painting, she is about to hit the wall. The artist tries to form a stark contrast between this intense moment and the girl's steady calm pace as well as her unknowable expression. The positive and poetic meaning of "welcome to the new stage" in the mottled painting creates psychological gap and tension.

Medium:

Oil on linen

Size:

160x180 cm

Looking for the Cube

Detail

Where is the exact position of the black cube in the painting? Is the painted portrait of the girl a real object in substantial space or a flat plane? Do the differences between each shadow in the painting reflect the set of multiple viewing dimensions? When artists get used to the practice of figurative painting with the reference of photograph materials, have they really considered about subtle changes in the outcome of painting behaviour due to the difference between 2D and 3D information that the retina obtains? What is exactly the essential difference between 'pictorially-real', 'observationally-real' and 'perceptionally-real'?

Medium:

Oil on linen

Size:

50x50 cm

Literal Joke

Detail No.1

Detail No.2

Detail No.3

Medium:

Oil on linen

Size:

50x160 cm

Group Portrait of Trees

The floor type clothes hanger looks like a tree after a highly abstract induction, and its materials are also made of wood. However, the smooth texture of the surface after mechanical grinding and the obvious traces of module assembly all announce its identity as a modern assembly line industrial product. Compared with many other product features, it seems to be more like the epitome of natural and artificial attributes. Therefore, Lingrui Zhang juxtaposes it with the natural forest space, and tries to fuse them in the picture as much as possible, attempts to reflect the new generation attribute of the coexistence of large-scale mechanical productivity and primitive natural ecosystem.

Medium:

Oil on panel

Size:

40.6x30.4 cm

Independently Complete the Creation of Adam Way 1

Independently Complete the Creation of Adam Way 3

Independently Complete the Creation of Adam Way 2

Medium:

Charcoal on paper

Size:

43x65 cm; 63x40 cm; 34x57.5 cm

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