Shi Zhongying 史钟颖

In discussions of his own approach to his work, Shi Zhongying emphasizes his understanding of symbolism and metaphor. Invoking Jungian archetypes, he manipulates media and form to develop a visual language for Buddhist philosophies. While there is a powerful sense of revelation in his work, there remains an element of searching. The crisp formal qualities imply clarity for complex metaphysical concepts. Simultaneously, there are the ever-present notions of experimentation and approximation. With each answer, solution and resolution Shi Zhongying deftly supplies, he attaches a question, a problem and a conflict. The resulting visual and sensual balance contributes to the overarching notion of the creation of a contemporary Buddhist aesthetic.

Form is nearly always the key aspect in any work of art, but Shi Zhongying seems to take the notion of form to a higher level. His careful (and remarkably patient) explorations of the formal elements of sculpture and painting appear initially to dominate the subject matter and purpose of his creations. After further consideration, the complex structuring and geometric rigour reveal themselves to be mere stepping-stones to a meditation on and exploration of spatial relationships. The investigations of the spatial relationships that Shi presents embody the metaphors for metaphysical concepts the viewer is invited to contemplate.

Shi’s comprehensive approach is self-evident in his installations. Often the viewer is confronted with a sculpture in tandem with an oil painting of the same sculpture. The artist presents the two together and lights them meticulously to create further manifestations in the forms of shadows. Close examination of the oil paintings reveal thin, fuzzy ribbons of darkness around the painted subject matter; Shi reminds us that the real life shadows we see had cousins in his studio, and he asks us to consider the relationship between the old shadows’ footprints in his paintings and the freshly created shadows emblazoned before us in the gallery. He uses these forms to provide perspectives on complex inter-relationships, and he asks us to ponder the difference between an actual shadow and its simulacrum.

Adding to his works’ philosophical impact, Shi designs his installations to be viewed from different perspectives. In doing so, the artist underscores the importance of transitions. Transitions hold great importance in Buddhist thought. They are thought to carry intense spiritual potential, and alertness and awareness during transitional moments offer the keys to understanding reality. Shi often presents us with subjects that seem to be frozen in a moment in time, or (perhaps more accurately) he has slowed down the transition for us so that we may achieve some visual and spiritual clarity through observation.

Our own movement and examination elaborates on the transitions and puts them back into motion at a pace we can determine and thus comfortably follow.

The emphasis on metaphysical transition informs Shi’s selection of media and form. The sturdiness and purity of stainless steel give us the sense that the sculptural medium is the ‘control’ in the experiment: we can trust its static qualities. To emphasize dynamic elements and clarify our perspective, Shi gives us the rigid geometry of the grid in many instances. The insistent regularity of this pattern makes slight variation conspicuous, as on a two-dimensional topographical map. Any warp or bulge is highlighted in this format, and Shi makes it easy for us to see how different his works look from different angles and in different lighting.

Aside from the philosophical power and spiritual energy that Shi has imbued in his works, there is undeniable grace and lyricism. He achieves these effects by imitating universal forms in his creation. Sometimes he maintains the exact geometric symmetry of a reflection in a motionless pool of water.

At other times, he delicately traces the sensual curves of a vine or a nautilus shell. All of his forms embody the idea of complex balance that is central to Buddhism and indeed to the universe itself.

Shi Zhongying was enrolled in our department from 1994 to 1999 and joined the Third Studio directed by Professor Dong Zuyi in his sophomore year. He was profoundly influenced by Professor Dong’s methodology and this gave him a solid foundation for his creation of sculpture.

Shi Zhongying is an extremely rational individual whose strong emotions are expressed in a peaceful and orderly way. His style is low-key, his rationality often controls his passions, and his passions are often restrained by his rationality, it is this quality that makes him appear gentle and sometimes even a little frail. In his eyes, the philosopher-like alertness and clarity can often be seen.

Shi Zhongying takes his work seriously. In the five years following his graduation he has never abandoned the love of creation despite troubles he may have encountered. His rationality enables him to think deeply and practice his ideal of art. He has continuously developed the Scenery and Net Series, and has never deviated from it. Since 2000, he has been devoted to the metaphor of the Net and has never relinquished his commitment to this theme and is unlikely to do so in the future.

Shi Zhongying displays attitude in his approach to life.  Like other ordinary individuals he is married, and clothes and cares for both himself and his family. It is precisely through the prism of an ordinary life that he reflects upon the contemporary world, the individual and society. His perspective is not individualistic but utilizes the subjective experience to pursue a philosophic understanding of man and universe and this is reflected in his art and life.

Shi Zhongying has returned to his alma mater to complete his Masters Degree. This exhibition is a reflection of his life and work for the past few years and can be also viewed as a report card of his progress to his alma mater, Professor Dong Zuyi, tutor Yang Jing and the teachers and students of the Department of Sculpture.

This exhibition is also a new start. With his rational approach, conscientious attitude, combined with the joys of an ordinary life, he is bound to have a wonderful time on his old campus and we all look forward to his bright future.

Sun Wei

May 18, 2005

In the historical forefront of Chinese contemporary sculpture Shi Zhongying’s artistic creation has aroused much attention. Although he is young, his works have made a contribution to the progress of Chinese contemporary art. Shi Zhongying’s unique personality and artistic expression are distinctive in the evolutionary jungle of China’s art scene.

I have known Shi Zhongying for a very long time. He received an education in fine art and mastered the theoretical and technical skills of China’s school of sculptural realism with outstanding results! As the subject for his undergraduate graduation project he chose to present three statesmen, Liu Shaoqi, Deng Xiaoping, and Peng Dehuai. In his selection of theme and handling of artistic form; in his rigorous depiction and honest discourse he was truly brilliant. His presentation of a major theme in sync with social change at the close of the twentieth century within an artistic context was nothing short of superlative! Given the social backdrop of the times, his creation from the perspective of both ideology and art was significant and groundbreaking. I was able to recognize Shi Zhongying’s talent and potential. Interestingly enough, after his completion of these figurative sculptures of realism this genre of work disappeared from his directory of personal creation without trace.

What was the reason for Shi Zhongying to abandon an artistic expression that seemed to be so consistent with his ability and intelligence? I believe that if he were to make the same decision today it would be deemed in step with social progress and contemporary art. I have noticed too that in Shi Zhongying’s recent work there remains an underlying social subtext that is sometimes obscured by symbolism. In this phase, Shi Zhongying is indeed attracted to symbolic metaphor and sometimes this causes him to neglect the works pure essence. Actually, for me the most interesting aspect of Shi Zhongying’s work is not the social intent but rather the pervasive elements of abstraction and virtual space. This kind of expression in contemporary Chinese sculpture is a breath of fresh air. I have been startled by Shi Zhongying’s comprehension of contemporary art and to have witnessed what I believe possibly is the birth of China’s new sculptural movement and to see Shi Zhongying as the driving force.

However the progression of things is never that simple. In Shi Zhongying’s new journey there is another social cause that impacts upon his artistic endeavor and life, that being religion.

The religious factors expressed in his works, shroud the contemporary sculptural approach in a mysterious cloak. Shi Zhongying’s immersion in the Buddhist philosophic approach is reflected in his series The Self. The works Pilgrimage, Empty Shadow, Sublimation, Symbiosis, Gathering, Parting, Reincarnation, are imbued with Buddhist thought. I was surprised by the appearance of Buddha in his latest series entitled The Buddha. It is perhaps difficult to critiquethe series from the perspective of a Buddhist interpretation. In Shi Zhongying’s words “My solution is to let the art of Buddha statuary be the spirit of enlightenment inspiring innovative contemporary art.” The works Meditation, Gossamer, Threads, Reflection, Vicissitudes, Cleansing, Mirror Light and Buddha evoke this spirit.

Obviously, these works affirm the value and significance of religion in society at large. The deep motivation of his artistic behavior is rooted in the surging social ethos to which he dedicates himself. The process makes him wise, and lays a solid ideological foundation for his artistic creation. Several times I have been amazed by the evolution of his creation for he freely immerses himself in the imagination of art and the enlightenment of Buddhism.  As he says “The creation of sculpture is my way of studying art and understanding wisdom.” The way Shi Zhongying experiences art is solemn and even sacred just like a devout believer, but from my point of view, it is more akin to an exploration of modernism and religious doctrine. It is difficult to distinguish whether Shi Zhongying uses sculptures to interpret religion, or uses religion to extend the connotation of his works. I am concerned with the pure essence of modernity, which in fact cannot be isolated from Shi Zhongying’s work. Perhaps, the holiness and ethereality of religion gives an orientation to the abstract sculpture. Therefore, Shi Zhongying combines art with religion. Namely, art is the ship, while religion is the water, and the dual cultivation is awesome!

All in all, Shi Zhongying’s sculptures can be interpreted in many ways, and it’s hard to determine which is the most accurate, even his own statements can only be a reference. But there is one thing for sure: Zhongying is a dynamic creative force, and this vigor enables him to keep pace and play a significant role in the innovatUon and development of Chinese contemporary sculpture. In this regard, I remain full of expectation!

Wang Shaojun,

Professor & Postgraduate Tutor

Central Academy of Fine Arts

April 9^th, 2015