Zheng Zhilin’s body of work depicted in these images employs a stylistic approach to figure representation that embodies a controlled, yet intense, visual interpretation of the human body. The image highlights how the body serves both as the central structure within the figure and as the primary site for formal experimentation. In the composition of the works, the figures are consistently represented as either elongated, attenuated or slightly distorted, which direct the viewer’s eye to the recurring theme of morphological instability among the figures. The figures’ arms, legs, and other body parts all extend beyond their normal physical proportions; their torsos twist with a great deal of flexibility; and their posture regularly indicates a state of suspension or imbalance rather than groundedness in a physically present body. Through consistent anatomical manipulation throughout the series, there emerges a visual language in which the human body is represented as flexible and even elastic.
Words: yannis kostarias
One of the key features of this body of work is its advanceduse of color contrast. Several of the works feature brightly colored reds and yellows contrasted against darker and/or muted backgrounds. This coloration lends to each figure’s massive visual presence within the picture frame, generating a strong dynamic tension that draws the viewer’s attention to those figures. The use of color in the more recent works appears to have intensified even further than in earlier works, as evidenced by the introduction of pale, gold colors applied in layers on top of darker, cadmium based colors. The application also creates a great deal of depth and luminosity on the figure’s surface area and maintains clear boundaries between each color while still providing a number of tonal transitions within the figure themselves.
Recurring themes throughout Zheng’s work emphasize certain parts of each form. Many times, hands are depicted as prominent features (ie, reaching out, forming a frame for something, or forcing something), while feet are also frequently shown, usually placed in a manner that serves to anchor a figure that may otherwise be difficult to maintain in an upright position. In many cases, the eye is presented as a major focal point through the use of extreme cropping; many examples of extreme cropping of the eye include disproportionately large pupils, or other parts of a partially cropped face; in addition, the surface treatment applied to the eye often creates a liquid appearance (i.e., in a manner that appears to have viscosity). These sudden moments of visual intensity will disrupt the overall flow of the composition and focus attention on isolated areas of increased intensity.
Movement is significant for the overall structure. Figures do not appear to be still; rather, they seem to be caught in the process of changing, bending, collapsing or intertwining with one another. Drapery also contributes greatly to this illusion of motion. The clothing is represented as thin, and it closely follows the contours of the figure but branches off into soft, flowing lines. This treatment of the material not only gives an ethereal quality to the otherwise substantial nature of the figures but also enhances the painter’s potential intention to render a remarkable bodily flexibility and plasticity, providing a contrast between heavy and light in the same figure.
A feeling of the uncanny occurs through the combination of these elements. The distorted anatomy, the extreme dissimilarity in tone, and the clear representation of carefully selected details produce ambiguous images that are both clear and uncomfortable. Although these compositions are based on the configuration of a figure, some arrangements (primarily those that include many figures clustered together or overlapping) come very close to the surreal, placing a lesser value on spatial logic and greater value on formal unity.
Both previous and current works have undergone substantial development through increased chromatic intensity and increased complexity in the composition of the artworks. Their movement towards greater contrasts, greater saturation of color and greater density of figural relationships seem to indicate that there is an increasing focus on the impact of colour and form as the major structural elements in the paintings.
How would you define your work in a few words (ideally in 3 words)?
Strong, fluid, stagnant.
Could you share with us some insights on your new work named ‘Collapsing Scenery’ (2025)? Is there any particular story behind this new painting?
Collapsing Landscape is a work from my 2024 solo exhibition, which took contemporary dance theater as its creative thread. Many elements relate to dance and stage design, yet the core lies in the expression of bodily power. In this painting, the dancing figure on the left occupies a large portion of the canvas, constructing a sense of visual imbalance. The two figures on the right are unconnected yet share the same space; their bodies carry a sense of massive volume while remaining light and agile—a sensation I strive to achieve in every piece.
There’s a beautiful sculptural quality to the figures you depict, they seem more carved than painted. What is your method for building volume and surface in your art?
I have a deep fascination with sculpture, more precisely with relief. I enjoy using a light, delicate approach to render an unexpected sense of volume, a quality that many of my paintings. In the process, I imagine my main subject as a heavy stone. Guided by this perception, I render its forms, while imbuing the surface colors and textures with subjectivity.
You use warm, earthy hues in large portions of your work while at the same time you juxtapose them with cool, almost other-worldly blues. What is your basis for choosing these color contrasts in the composition?
Warm tones have long been my go-to palette, but I have recently been experimenting with new directions, seeking to expand my color range and create more intense contrasts.
It is noticeable that a large part of your work is dedicated to figuring the human body, either as fragmented parts or intertwined forms. What is it about these physical arrangements that attract you and that you keep wanting to reproduce?
My artistic inquiry has always centered on the human condition. Exploring how to embody a sense of timeless strength through bodily language and spiritual state has been my enduring pursuit. None of my figures are based on real models; I prefer not to fixate on specific individuals, but to evoke universal, shared emotions.
It is noticeable that there is an alternation in your work between narrative, complex compositions and simpler, almost iconic single figures. How do you move between these two modes of working?
This depends on the scale of the work. Narrative is an inescapable element in figurative painting. When skillfully integrated with painterly language, it can greatly strengthen the work’s power. Yet narrative should not be overly explicit. Much like in literature—where there are narrative poems as well as concise haiku—small-format paintings resemble the brevity of haiku.
You give a special treatment to some details, hands, gestures, or small objects, in particular; how do you make up your mind about which elements to highlight in the composition?
Interestingly, at the sketching stage, I usually begin with small, local gestures and movements. I always start from the details that draw me in, then gradually build out the rest of the composition. Sometimes, when a painting feels too solemn or monotonous near completion, I add a touch of playful detail, like a sudden, unexpected sneeze.
Do specific artworks have been created by random experiments in your studio or do you usually come up with a particular concept or narrative in the very beginning of your artistic process?
My working process is methodical. Once an exhibition plan is confirmed, I draft a size schedule and conduct preliminary research, organizing my scattered thoughts into a coherent framework. Following this framework, I complete all sketches on my iPad—a time-consuming process—before moving on to canvas or paper.
Which are your plans for the near future?
My solo exhibition will open at Linseed Projects in Shanghai on April 11, running through May 30. Afterward, I will rest for a week or two before launching a new series of sketch projects.
all images courtesy of the artist