In the space of image appropriation, artist Zhang Yehong restores the primitive romantic ambition, placing restricted freedom in indiscriminate expressions. This ambition is of photographers. What Zhang Yehong intends to express in his work is, instead of images’ limitation being the source of pain, the reflection on contemporary imaginization: images cannot be pressured to update in a general manner following historical opinions, nor can them be thoroughly liberated by breaking social aspirations and meaning of life.
From a historical perspective, drawing being more and more inseparable from photography has become recognized over the world. For Édouard Manet, Edgar Degas, Paul Cézanne and Georges Seurat, image appropriation assisted their creation in hidden manners. The pseudo truthfulness of images, in Zhang Yehong’s point of view, is the denial of truth on some level. Paintings, evolving with the help of classical photography, enable the images of different temporal dimensions to form evidence of ostensible truth inside its fabricated frame.
In Murray Krieger’s opinion, poetry, as well as other forms of art, as creations of human spirit, was born with innate contradictions or paradox. In Zhang Yehong’s working process, he tries his best to express complicated thinking by customizing scripts. Gradually he discovered that language and text as expressions, besides being full of ambiguities, restrain and stupefy the feelings and emotions behind them, deprives them of their vitality. In the exhibition The Golden Spring Breeze Zhang Yehong seeks for an interactive method of broad visual symbols, breaking down the opposition of symbols and meanings in language expression, linking together many images of individual authors in the history, prolonging time in the prophetic path of golden and green, and promoting the connection of images to form inevitable significance.
During the rapid process of information being sent, to convergence, and to disappearance, viewing becomes extremely passive. Zhang Yehong starts from the perspective of images, tries to transform the awkwardness of being viewed to the poetic colors in the images—golden and green. He then uses the context of being delighted in the breeze of spring to express the difficulty in distinguishing the genuine and the fake, which is the base tone of his work. In this process, what artist could do is to strip off the redundant symbols and leave only what he wants.