| In my book The Critique of Wu Guan-Zhong’s Art—on Zhuo Mo’s, Shui Tian-Zhong’s, and Lu Hong’s Critique of Wu, I wrote, “Judging from essential artistic values, Wu’s art is obviously limited. The reason is that he didn’t surpass Chinese traditional symbolism. He references to Western contemporary formalism. The beauty of Abstraction theory and methodology of Formalism construction did not help him deconstruct Chinese traditional symbolism. Instead, they assisted in encouraging Chinese traditional symbolism. Wu’s art basically is an extension of Chinese traditional symbolism, not a new creation of modern art.” This limitation I mentioned in the book is most obvious in Wu’s water-and-ink paintings, as well as in his so-called “experimental calligraphy” from 2005 to 2008. | 
|
Wu Wei
Courtesy of Art Today.In my book The Critique of Wu Guan-Zhong’s Art—on Zhuo Mo’s, Shui Tian-Zhong’s, and Lu Hong’s Critique of Wu, I wrote, “Judging from essential artistic values, Wu’s art is obviously limited. The reason is that he didn’t surpass Chinese traditional symbolism. He references to Western contemporary formalism. The beauty of Abstraction theory and methodology of Formalism construction did not help him deconstruct Chinese traditional symbolism. Instead, they assisted in encouraging Chinese traditional symbolism. Wu’s art basically is an extension of Chinese traditional symbolism, not a new creation of modern art.” This limitation I mentioned in the book is most obvious in Wu’s water-and-ink paintings, as well as in his so-called “experimental calligraphy” from 2005 to 2008. His “experimental calligraphy” did not break free from traditions. Nor did it capture the essence of traditional calligraphy. From Wu’s “experimental calligraphy,” it is plain to see how little his understanding of contemporary art is.
