I first encountered the name Zhang Yu a dozen or so years ago in books and magazines, many of which discussed his highly individualistic approach to ink and wash. Indeed, Zhang’s ink paintings have always been relatively simple yet imbued with an unforgettable distinctiveness that challenges viewers. I first met the artist in October 1998 at the “Shanghai Biennial” where he was exhibiting the piece “Divine Light” (靈光), possibly the single largest work shown during the event. Displayed on the first floor of the museum, this 20m work was the first thing visitors to the Biennial saw as they came through the front door. With its clear pictorial framework “Divine Light” showcased changes in shade and color, a key element being the attention to detail associated with ink and wash, creating a visual impact with the power to touch the very depths of the human soul.

　　I later learned that Zhang Yu was a leading figure in the field of experimental ink painting in Mainland China. Despite his relatively young age, Zhang has already devoted more than 30-years of his life to the field of modern ink painting and made a significant contribution to the genre in both theory and practice. Both the “Divine Light Series” and the more modern “Fingerprints Series” (指印), highlight his role as an artist with ideals, drive and great focus.

　　Zhang Yu is very honest with regards art and never impetuous, impulsive or self satisfied, preferring an honest approach to the world in which we live. In this context, it is worth noting his observation, made on a number of public occasions, that although experimental ink painting has had a major impact in Mainland China and internationally, modern ink painting in Taiwan predates that seen in China by two decades. It is exactly this scholarly attitude to his profession that makes Zhang such an impressive artist.

　　The new series “Fingerprints” follows on from the earlier pieces “Divine Light” and “Daily News” (每日新報). Zhang has worked on this series for nearly ten years during which time he has had a positive impact in both China and overseas. Strictly speaking “Fingerprints” is a work of performance art rather than a painting. Moreover, although the performance of the fingerprints can appear as the refinement of a restraining force, it also underscores the understanding and attitude with which the artist faces the world.

　　The exhibition title “Diffused Fingerprints” (迷漫的指印) was selected by Zhang Yu himself, reflecting his understanding of society, the realities of life and a self expressed awareness of fingerprint performance. “Diffused Fingerprints” is a fingerprint space work, wherein the artist “decorates” the entire display space with his own red-colored fingerprints, introducing yet another of his innovative experiments and creative breakthroughs.

　　At present Zhang has presented two solo exhibitions in Taiwan, one at the Kuandu Museum of Fine Arts, the other at Da Xiang Art Space. In contrast, to those two events the “Diffused Fingerprints” exhibition to be held at National Sun Yat-sen Memorial Hall is very different indeed. The degree of control exercised by the artist on the expressiveness of the work is particularly rare, an approach that is especially challenging with works that are as apparently unadorned as Zhang Yu’s “Fingerprints”.

　　The “Zhang Yu - “Diffused Fingerprints” exhibition leaves us feeling that artistic expression should always be imbued with innovativeness, replete with personality and irreplaceable. At the same time, it is clear that good art must also strive to be both profound and unique of character.

February 28, 2010, Taipei

作者：Lee,shi-chi