I am fascinated by interpersonal dynamics, personal myths, archetypes, and universality in human conditions across time and geography. Lately my thinking has been influenced by my travels, current events, and reading on human history. I reflect on common threads underlying different perspectives in the transient, divisive human existence, both on a micro and macro level—for example, the sense of belonging, mental and physical displacement, environmental degradation, and consensus on invented constructs. Symbolism and surrealism are the vehicle to these concerns. A recurring element in my art is imagined dimensions and pseudo-landscapes, metaphorical in-between spaces of what is and what could be. Everyday sights, objects and nonfiction inspire “what is,” beyond which I try to hint at and challenge the hidden “what could be.” Within landscapes are imageries inspired by the panorama of humanity, alluding to local, autobiographical experiences and larger social phenomena. I create emotively in reaction to these experiences and observations.
Despite working in a range of mediums, I use recurring conceptual and formal devices. Symbolism and surrealism are the the vehicle to the indescribable and unseen. Tension between dichotomies and contrast lends to emotional emphasis—organic fluidity versus clean geometry, exuberance versus austerity, and colorful versus monochrome.
My latest experimentation is the intersection of the digital with traditional mediums, where I explore elements that excite the human psyche such as portraying, emoting and staging subversive visual impact through color and line. I aim for art to be accessible to the public and disruptive in stasis, despite space, time, and perspective.
Born in Guiyang, China, Rengu Zhang graduated from Boston College with a major in Environmental Geoscience and minor in Studio Art. She is a committee member of World Unity Inc. Her work has been in group exhibits in Xi’an, China and Greece as well as the private collection of the Copelouzos Family Art Museum in Greece.