On a Sentimental Moon
Zhang Meng, solo
16 September - 28 Oct, 2023
Beijing
Zhang Meng, solo
16 September - 28 Oct, 2023
Beijing
Tabula Rasa Gallery is pleased to announce Zhang Meng's solo show, On a Sentimental Moon, opening on 16th September at Beijing Gallery. This is the artist's second solo show with the gallery. The exhibition is accompanied with an exhibition article by curator He Xiao.
“Through art alone are we able to emerge from ourselves, to know what another person sees of a universe which is not the same as our own and of which, without art, the landscapes would remain as unknown to us as those that may exist on the moon.” Marcel Proust’s timeless words, articulated nearly a century ago, underscore the singular power of art to propel us beyond the confines of our own perceptions. In the contemporary milieu, the phrase “fly me to the moon” assumes a newfound proximity, thanks to its widespread dissemination across various media platforms. However, it persists in its capacity to encapsulate a multitude of narrative intricacies.
In her solo exhibition, On a Sentimental Moon, at Tabula Rasa Gallery Beijing Space, Zhang Meng embarks on a compelling odyssey to unveil the intricate tapestry of her creative endeavours in recent years. Through diverse mediums such as painting, installation, and textile artist books, she navigates the themes of childhood traumas and experiences. This emotional journey reflects the interplay of reality, memories, imagination, and dreams within the artist’s inner world.
Zhang Meng’s art ingeniously transforms the landscapes of her birthplace, childhood haunts, domestic abodes, and frequented public spaces into living narratives. Her artwork titles serve as gateways to a realm of storytelling and boundless imagination. For instance, I have a new dress every day, either made by grandma or auntie (2023) and I shuttle among various scents in the corridor in the evening (2023) beckoning viewers to embark on immersive journeys through her unique experiences. Within these works, the warm embrace of yellow hues reignites the ambience of her cherished childhood, steeped in the affectionate care of her grandmother. Fragrant memories metamorphose into visual narratives, infusing her canvases with vibrant palettes that exude a sense of joyful nostalgia.
The new works, conceived during her time abroad, take on the mantle of “stream of consciousness” creations in Zhang Meng’s artistic vocabulary. Diverging from the linear narrative style typically associated with “stream of consciousness” in literature, her paintings adopt a distinct approach. Here, she masterfully compresses various temporal and spatial dimensions from her personal history into single artworks, skillfully blurring the boundaries between memory and imagination, as well as experience and sentiment. A prime illustration of this artistic method can be found in Odyssey II (2023). In this piece, she envisions herself as Odysseus, courageously traversing a world fraught with challenges—battling storms, confronting monsters, and challenging demons. This artistic choice not only subverts the male-dominated narrative of the original legend but also resonates deeply with the spirit of adventure forged during her overseas confinement amid the pandemic’s constraints.
In response to the emotional nuances of isolation and social distancing brought about by the pandemic, Zhang Meng has embarked on a transformative artistic journey. Notably, she employs expansive swaths of colour as the backdrop in many of her recent paintings, seeking to infuse her work with an aura of positivity and vibrancy. While she attempts to incorporate elements of joy and brightness into her creations, she maintains an unwavering allegiance to the black-and-white colour scheme, as witnessed in her works such as Memory is like a strong wind (2022), Christmas Tree Praise (2022), and Save the fat in my kindergarten lunchbox 1 (2023). For Zhang Meng, the colour black serves as an intimate connection to her inner psychological landscape, and her choice of black powder materials is a manifestation of her profound inner yearning for this hue.
In her earlier years, Zhang Meng’s paintings drew heavily from photographs to evoke memories of specific experiences. However, as she honed her ability to tap into her inner emotions, she transitioned to relying solely on memory and imagination to craft her artworks. The creative process resembles a form of meditation or yoga. In a state of relaxation and natural flow, she swiftly completes work within the confines of her chosen materials. Deep-seated images, emotions, consciousness, and sensations freely flow and manifest on the canvas in a condensed timeframe.
“The act of painting is akin to reminiscing, recollecting small childhood events that still hold sway over me today.” As the linear years of youth pass by, singular moments freeze the past into tangible fragments, prodding the artist to contemplate the ultimate and inevitable questions of life—birth, growth, and death. These fragments of discovery, warmth, and unavoidable awkwardness experienced in the process of maturing transform her works into divisible realms of meaning, providing the core impetus for her creations.
It’s discernible that in Zhang Meng’s works, based on real-life experiences, characters seldom occupy central positions within the composition. The imbalanced proportions between characters and depicted objects, and the sense of detachment conveyed, reflect the artist’s “God’s eye” perspective. This critical distance not only delineates temporal separation but also signifies the digestion and reconciliation of individual emotions.
The easing of external constraints has allowed the introverted and reserved Zhang Meng to gradually unfurl her creative wings. Her work now exudes a sense of liberation compared to the past. This newfound creative freedom, in part, is a result of not being confined by the structured curricula typically found in art academies in China. This has enabled the artist to fully engage in the creation process, drawing inspiration solely from her personal emotions. Within her works, the irregular details, distorted perspectives, and artistic disarray all result from her divergence from convention. The waves of feelings, the mist of emotions, the collision of thoughts, and the whirlpool of associations and impressions, unconstrained by a central concept, construct a multifaceted network. In her view, each work and every detail bears the potential for narrative relationships, and the flow of lines and the construction of space subconsciously connect to new narratives.
Much like a journey through the moon, Zhang Meng’s creative process lacks a central hub or origin; it expands into new territories as she explores, discovering suitable environments that spawn new nodes, leading to uncharted directions and pathways. This nomadic journey creates a labyrinthine state on the same plane, with the underlying significance lying in the artist's choices and designs, driven by her own free will and vision for the future.
Her works, crafted using charcoal, pigments, and even collage, are sealed with hot wax by Zhang Meng. These ceremonial steps elegantly bridge the internal and external, not only enhancing the texture of the works with translucent and ethereal lighting but also imparting a sense of age that harmonizes with memories, as the wax, sourced from the animal and plant kingdom, gradually develops a yellowed patina over time. The logical interplay between spatial construction and the separation of enamel surfaces, combined with physical space, reevaluates the relationship with objects, thus transcending into the realm of concepts.
Departing from written language, Zhang Meng increasingly relies on her intuition to perceive images, transforming fragments of consciousness, memories, and imagination into communicable scenarios through visual language. She strives to approach those ineffable experiences through the resonance of both the whole and its constituent parts. With the overlay of memories, she confronts herself authentically, transmuting chaos into creative expressions that can be shared with others. This not only serves as a means for the artist to heal her own traumas but also becomes a pathway to understanding her present self. On a sentimental moon, Zhang Meng continues her exploration, strategically placing the essential markers in her creative process.
Zhang Meng (b.1983 in Tianjin, China) is a linguistics scholar turned artist. Her creations reflect her wild imagination of the collective West and East mythologies. Furthermore, figures in her paintings are often emotionally troubled and detached or obscured and hidden within the landscapes, conveying a sense of fragility and strangeness. This is also tangible in the media she employs charcoal, pencil, hot wax and paper, which are naturally brittle, slippery and ephemeral.
Her works are featured in several museum and gallery exhibitions such as: On a Sentimental Moon, Tabula Rasa Gallery (Beijing, 2023); Forest-Stift, Luis Leu (Germany, 2023); Karls Ruhe, AroundSpace Gallery (solo, Shanghai, 2022); Fragmentation is Abstraction, C-space (Berlin, 2022); We are so many here, Kunsthalle Basel (Basel, 2022); Works on Paper, Stevenson Gallery, (Cape Town, 2021); LISTE Art Fair Basel 2021 (dual solo, Basel, 2021); Tones and Toes, Tabula Rasa Gallery (solo, London, 2021); Ich Singe, Nordheimer Scheune (solo, Nordheim, 2021); Let Painter Talk, Taikang Space, (Beijing, 2021); NINININI PENG, neewhom, Gebäude im Passagehof 24 (Karlsruhe, 2019); Regionale 19, Kunsthalle Palazzo (Switzerland, 2018), etc.
“Through art alone are we able to emerge from ourselves, to know what another person sees of a universe which is not the same as our own and of which, without art, the landscapes would remain as unknown to us as those that may exist on the moon.” Marcel Proust’s timeless words, articulated nearly a century ago, underscore the singular power of art to propel us beyond the confines of our own perceptions. In the contemporary milieu, the phrase “fly me to the moon” assumes a newfound proximity, thanks to its widespread dissemination across various media platforms. However, it persists in its capacity to encapsulate a multitude of narrative intricacies.
In her solo exhibition, On a Sentimental Moon, at Tabula Rasa Gallery Beijing Space, Zhang Meng embarks on a compelling odyssey to unveil the intricate tapestry of her creative endeavours in recent years. Through diverse mediums such as painting, installation, and textile artist books, she navigates the themes of childhood traumas and experiences. This emotional journey reflects the interplay of reality, memories, imagination, and dreams within the artist’s inner world.
Zhang Meng’s art ingeniously transforms the landscapes of her birthplace, childhood haunts, domestic abodes, and frequented public spaces into living narratives. Her artwork titles serve as gateways to a realm of storytelling and boundless imagination. For instance, I have a new dress every day, either made by grandma or auntie (2023) and I shuttle among various scents in the corridor in the evening (2023) beckoning viewers to embark on immersive journeys through her unique experiences. Within these works, the warm embrace of yellow hues reignites the ambience of her cherished childhood, steeped in the affectionate care of her grandmother. Fragrant memories metamorphose into visual narratives, infusing her canvases with vibrant palettes that exude a sense of joyful nostalgia.
The new works, conceived during her time abroad, take on the mantle of “stream of consciousness” creations in Zhang Meng’s artistic vocabulary. Diverging from the linear narrative style typically associated with “stream of consciousness” in literature, her paintings adopt a distinct approach. Here, she masterfully compresses various temporal and spatial dimensions from her personal history into single artworks, skillfully blurring the boundaries between memory and imagination, as well as experience and sentiment. A prime illustration of this artistic method can be found in Odyssey II (2023). In this piece, she envisions herself as Odysseus, courageously traversing a world fraught with challenges—battling storms, confronting monsters, and challenging demons. This artistic choice not only subverts the male-dominated narrative of the original legend but also resonates deeply with the spirit of adventure forged during her overseas confinement amid the pandemic’s constraints.
In response to the emotional nuances of isolation and social distancing brought about by the pandemic, Zhang Meng has embarked on a transformative artistic journey. Notably, she employs expansive swaths of colour as the backdrop in many of her recent paintings, seeking to infuse her work with an aura of positivity and vibrancy. While she attempts to incorporate elements of joy and brightness into her creations, she maintains an unwavering allegiance to the black-and-white colour scheme, as witnessed in her works such as Memory is like a strong wind (2022), Christmas Tree Praise (2022), and Save the fat in my kindergarten lunchbox 1 (2023). For Zhang Meng, the colour black serves as an intimate connection to her inner psychological landscape, and her choice of black powder materials is a manifestation of her profound inner yearning for this hue.
In her earlier years, Zhang Meng’s paintings drew heavily from photographs to evoke memories of specific experiences. However, as she honed her ability to tap into her inner emotions, she transitioned to relying solely on memory and imagination to craft her artworks. The creative process resembles a form of meditation or yoga. In a state of relaxation and natural flow, she swiftly completes work within the confines of her chosen materials. Deep-seated images, emotions, consciousness, and sensations freely flow and manifest on the canvas in a condensed timeframe.
“The act of painting is akin to reminiscing, recollecting small childhood events that still hold sway over me today.” As the linear years of youth pass by, singular moments freeze the past into tangible fragments, prodding the artist to contemplate the ultimate and inevitable questions of life—birth, growth, and death. These fragments of discovery, warmth, and unavoidable awkwardness experienced in the process of maturing transform her works into divisible realms of meaning, providing the core impetus for her creations.
It’s discernible that in Zhang Meng’s works, based on real-life experiences, characters seldom occupy central positions within the composition. The imbalanced proportions between characters and depicted objects, and the sense of detachment conveyed, reflect the artist’s “God’s eye” perspective. This critical distance not only delineates temporal separation but also signifies the digestion and reconciliation of individual emotions.
The easing of external constraints has allowed the introverted and reserved Zhang Meng to gradually unfurl her creative wings. Her work now exudes a sense of liberation compared to the past. This newfound creative freedom, in part, is a result of not being confined by the structured curricula typically found in art academies in China. This has enabled the artist to fully engage in the creation process, drawing inspiration solely from her personal emotions. Within her works, the irregular details, distorted perspectives, and artistic disarray all result from her divergence from convention. The waves of feelings, the mist of emotions, the collision of thoughts, and the whirlpool of associations and impressions, unconstrained by a central concept, construct a multifaceted network. In her view, each work and every detail bears the potential for narrative relationships, and the flow of lines and the construction of space subconsciously connect to new narratives.
Much like a journey through the moon, Zhang Meng’s creative process lacks a central hub or origin; it expands into new territories as she explores, discovering suitable environments that spawn new nodes, leading to uncharted directions and pathways. This nomadic journey creates a labyrinthine state on the same plane, with the underlying significance lying in the artist's choices and designs, driven by her own free will and vision for the future.
Her works, crafted using charcoal, pigments, and even collage, are sealed with hot wax by Zhang Meng. These ceremonial steps elegantly bridge the internal and external, not only enhancing the texture of the works with translucent and ethereal lighting but also imparting a sense of age that harmonizes with memories, as the wax, sourced from the animal and plant kingdom, gradually develops a yellowed patina over time. The logical interplay between spatial construction and the separation of enamel surfaces, combined with physical space, reevaluates the relationship with objects, thus transcending into the realm of concepts.
Departing from written language, Zhang Meng increasingly relies on her intuition to perceive images, transforming fragments of consciousness, memories, and imagination into communicable scenarios through visual language. She strives to approach those ineffable experiences through the resonance of both the whole and its constituent parts. With the overlay of memories, she confronts herself authentically, transmuting chaos into creative expressions that can be shared with others. This not only serves as a means for the artist to heal her own traumas but also becomes a pathway to understanding her present self. On a sentimental moon, Zhang Meng continues her exploration, strategically placing the essential markers in her creative process.
Zhang Meng (b.1983 in Tianjin, China) is a linguistics scholar turned artist. Her creations reflect her wild imagination of the collective West and East mythologies. Furthermore, figures in her paintings are often emotionally troubled and detached or obscured and hidden within the landscapes, conveying a sense of fragility and strangeness. This is also tangible in the media she employs charcoal, pencil, hot wax and paper, which are naturally brittle, slippery and ephemeral.
Her works are featured in several museum and gallery exhibitions such as: On a Sentimental Moon, Tabula Rasa Gallery (Beijing, 2023); Forest-Stift, Luis Leu (Germany, 2023); Karls Ruhe, AroundSpace Gallery (solo, Shanghai, 2022); Fragmentation is Abstraction, C-space (Berlin, 2022); We are so many here, Kunsthalle Basel (Basel, 2022); Works on Paper, Stevenson Gallery, (Cape Town, 2021); LISTE Art Fair Basel 2021 (dual solo, Basel, 2021); Tones and Toes, Tabula Rasa Gallery (solo, London, 2021); Ich Singe, Nordheimer Scheune (solo, Nordheim, 2021); Let Painter Talk, Taikang Space, (Beijing, 2021); NINININI PENG, neewhom, Gebäude im Passagehof 24 (Karlsruhe, 2019); Regionale 19, Kunsthalle Palazzo (Switzerland, 2018), etc.
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