What does this series of photos of Zhang Peng mean? That sounds horrific.

Zhang Peng's works express more and more themes of injury. Of course, the injury of youth is also a major theme of post-70s art, however, no post-70s artist has indulgent temperament and excessive self-concentration, and he even promoted this injury to an aesthetic extreme.

From his photographs, you can see that the artistic expression of the post-70 s art about growth and youth injury has become a type of vision, such as girls, blood, fear and so on. In the language, the way of performance shooting is adopted. Formally speaking, Zhang Peng's images are very technical, and computer image modification technology is used in many places, but his photos make people forget his technical language, but are attracted by the eyes of a little girl in the picture, the strange and slight fear around her, and the red sofa and arrow behind her.

This involuntary attraction caused by looking at pictures is not because of the injury or the cause of the injury itself, but a kind of aestheticism, which is almost addictive. Zhang Peng's photos usually show an area that suddenly reverses after an injury. This field is not the fear and trembling tension that comes with it. On the contrary, it is surprisingly quiet. For example, the little girl in a white gauze skirt is looking intently at a little white cat like her on the red sofa. Her figure is very small, and the red sofa is like a huge curtain, which fills the whole picture. The light was dimly focused on the little girl and the white cat. Because the little girl and the white cat are all white, the velvet red on the sofa reflects the white gauze skirt, white skin and the red on the cat.

Zhang Peng's wound field seems to be just a visual sentimental symbol, but the picture is full of aestheticism, and even a poetic atmosphere permeates the room. All this is mainly because the trace of injury is almost a strong appearance on the little girl, but the little girl never seems to realize that she has just experienced a fear and trembling. For an instant, her self-consciousness seemed to be depersonalized. She or the white cat around her looked at the cat slightly clever. Or look straight ahead, as if watching someone watching her; Or wear the costumes of the imperial concubine of Peking Opera and indulge in the sad aftertaste of dreams and fantasies. Zhang Peng's pictures have the penetrating power of psychoanalysis, which comes from a complete image language rather than the concept of language.

Zhang Peng's image can be analyzed from the common perspectives of post-1970s art, such as the fable of growth, the theme of injury, the art of youth, and the symbolic relationship between girls and innocence. But in the real image level, Zhang Peng's image conveys not harm, but an addiction. The central focus of his image mainly lies in the girl's big eyes. Her eyes are twice as big as normal eyes, but her body is several times smaller than the real body. This is the body proportion modified by computer image processing, which makes the eyes strengthen into a focus to absorb the line of sight. This is actually a psychological focus. In fact, looking at this innocent, youthful and helpless injured picture, once you make eye contact with the girl, the self-state expressed in your eyes seems to have nothing to do with the injury that just happened.

On the contrary, girls indulge in objects or imagination outside the injury field. As a result, she became very quiet, as if in the moment of fear and standing, she diverted her attention and soon became addicted to staring or imagining objects. Although Zhang Peng's images have a beautiful sentimental feature, which can also be seen in other post-1970s arts, Zhang Peng's sentimental colors are more mixed and diverse. Zhang Peng's image is almost two kinds of breath permeating and interweaving in a closed space, such as ghost and innocence, injury and infatuation, gloom and fierceness. He often uses high-profile red and white in his images, mixed with dark and dense dark black, and strange blue with dark edges.

There are many suggestive and violent elements in Zhang Peng's pictures, such as the red plush carpet in Sex, the pregnant belly of a girl, the wedding dress and the skirt with suspenders, and the violence such as the arrow in the dark in the Woods, the blood around the eyes, and the Peking Opera posture of the imperial concubine committing suicide. But the elements of sex and violence are more like defining a field, but they do not constitute a theme. The real main element is actually the girl's obsessed and focused eyes, as well as strange, thick and deep colors. Some video scenes have been moved outdoors, such as sitting in the forest at night and sleepwalking in the wilderness at dawn. In the outdoor part, it only emphasizes that girls focus on an imaginary field outside the realistic consciousness, rather than indulging in themselves.

For the indulgent images, mainly indoor dark red and high-profile white parts, the girl opened her eyes wide, and she completely forgot the pain and fear. Similar themes are also reflected in his oil painting images, but the oil painting images are more formal. In this painting, the self-condition of the little girl in Zhang Peng is actually extremely depersonalized, and this depersonalization enables the girl to realize herself in the true sense. This state of high ego can also be applied to Zhang Peng from the perspective of a painter. He and the little girl seem to form a one-way transmission chain of gaze and addiction, that is, he is selflessly addicted to the girl's gaze, and the girl is selflessly addicted to the gaze of a third party. And through staring and indulging, she got rid of the pain. Of course, she didn't do it on purpose. She was just attracted to another field.

So, what kind of field is this? It may be beautiful, intelligent, ghostly or have a hint that a strange experience is coming. In fact, the image of Zhang Peng is not only creating a different beautiful field, but also a place where people can get rid of pain and transfer their thoughts. The function of his images is not to face or contend with the pain, but to gain a future and transcendent non-self state by paying attention to others and indulging in the specific things in an imaginary foreign land.

In fact, this is also like the existence of the entire post-70 s artistic self. They usually no longer pay attention to the causes and solutions of the outside world, but engage in an introverted addiction by simulating this direct language through images. As a post-80s artist, Zhang Peng pushed this approach to a deeper and more linguistic extreme.