Hong Kong’s M+ museum is hosting a collection of more experimental prints by the artist, who is considered a master of the lyrical abstraction movement and whose work regularly fetches vast sums at auction.
Visitors can explore, in chronological and topical order, the artist’s early figurative works and those inspired by Chinese calligraphy.
These are followed by an explosively colourful series of abstract pieces based on the artist’s vision of the elements – earth, wind and water.
Chinese inks and engravings, which Zao created for poems written by his friends, Henri Michaux and Rene Char are also on display.
The exhibition is being held following a donation of more than 200 prints and bibliographic books by his widow, Françoise Marquet-Zao.
Born into a wealthy banking family in China in 1920, Zao discovered art through his grandfather’s passion for calligraphy.
He became captivated by European painters as a student at the Hangzhou Fine Arts Academy before moving to Paris in 1948 to continue his training and forging ties within the French art scene.
“He didn’t want to be considered as a Chinese painter” in Paris, “or to make chinoiseries,” said Yann Hendgen, art director at the Zao Wou-Ki foundation.
“He wanted to be a painter as Soulages,” he added, referencing the French painter and graphic artist Pierre Soulages.
Zao, who died in 2013, had a special relationship with Hong Kong.
“In 1958, Zao Wou-Ki was invited to teach in Hong Kong for one semester,” said M+ curator Mo Wan.
“He had a long-lasting influence on the Hong Kong culture scene.”
It was his first return to Asia since departing for the French capital, which allowed him to reconnect with Chinese culture.
After Hong Kong, marking the close of a period in his oeuvre, he made a decisive turn towards the abstraction movement. (AFP)
