| One may notice that Zhang Hua always creates his works in between hard and soft material. He transforms a classical sculptural entity into an origami shell or melting paste; he elongates, crushes, or reduces the scale to make various contrasts. His work involves the Chinese traditional wisdom of void over solid, perceiving the massive from tiny. Zhang is good at transforming the void/solid relation by internalizing the touch of material. The character of his sculpture is formed not only by the similarity between the distortion and the digitalized graphic, but by the connection between the surface processing and the industrialized culture. The texture of the folding creases with the glittering from car paint’s surface, further reinforces viewers’ sense of illusion. |  |
Wang Lin
One may notice that Zhang Hua always creates his works in between hard and soft material. He transforms a classical sculptural entity into an origami shell or melting paste; he elongates, crushes, or reduces the scale to make various contrasts. His work involves the Chinese traditional wisdom of void over solid, perceiving the massive from tiny. Zhang is good at transforming the void/solid relation by internalizing the touch of material. The character of his sculpture is formed not only by the similarity between the distortion and the digitalized graphic, but by the connection between the surface processing and the industrialized culture. The texture of the folding creases with the glittering from car paint’s surface, further reinforces viewers’ sense of illusion. It is worth noting in his work that Zhang avoids using pompous macro-narrative and philosophical myth. Viewers cannot take their gaze away from the creased texture, the shimmering reflection; they are inevitably searching for the structure and shape of the body from within. The sense of touch and depth of experience tempt you into an imaginary expression of Zhang Hua’s sculptural world.
