The entire artistic process of my work evolved from the traditional method of printing into a unique combination of painting and printing.
In 1990 I started using letters and Chinese characters as tools for creating art work. It has been over 22 years. At first, I only used letters and characters, but later on I began using all sorts of different things: Plastic made english letters, Arabic numerals, Styrofoam, hard plastic, glass boards, metal, seal cuttings of stones, carved rubber, corroded plastic boards, cloth, paper, wood cuts and any other materials that can absorb water and soluble paint or can easily leave imprints.
The sense of intimacy and affection for the concrete that is achieved by Zheng Xuewus work is not its only dimension. These compositions can be interpreted as a unity, each with its theme and purpose. Perhaps Zheng Xuewu has a favorite interpretation for each picture; so do I. So, I am sure, does every viewer who pauses before one of his pictures, first arrested by the color and the large shapes, then becoming fascinated by the tiny elements from which the picture is made. But to interpret these works as messages, with meanings and structures, is once again to abandon print, that in-between world of signifying, repeating, combining, and re-combining that Zheng Xuewus work reveals as so rich, so diverse, and so very lively. It is here that the greatest pleasure of this work, and of the lives full of print that we all lead, can be found.
Excerpt from Print World
Professor, Department of Anthropology
University of Chicago , U.S.A.
The intricacies of these one-of- a- kind colored prints border on the exquisite; they are mesmerizing in their occupation of pictorial space. Like so much of today's good art, the work of Zheng occupies the interstices between genres and methods, with a resulting density of content that grabs the viewer's attention.
Critic based in NYC