ZHE ZHU (b.1993,Shenzhen, Guangdong province, China)

Graduated from Photography at School of Visual Arts, New York (B.F.A) in 2015. He is recently awarded the Avant Guardian by Surface magazine. His recent shows include The First Edition of Changjiang International Photography & Video Biennale at Changjiang Museum of Contemporary Art, Chongqing (2015); Portfolio Show Case Volume 8 Group Exhibition at The Center for Fine Art Photography, Fort Collins, U.S.A. (2015); Zhe Zhu: Vanitas at Backyard, Beijing (2014); Somewhere Else at Dekalb Gallery of Pratt Institute, New York (2014); Zhe Zhu: Kind of Blue at School of Visual Arts, New York (2013) and Earthlings at Neighborhood Church of Greenwich Village, New York (2012).

The Vanitas series, which Zhu has been developing over the last two years, was inspired by a type of symbolic still life painting that flourished in Flanders and the Netherlands in the 16th and 17th centuries. These particular oil paintings, referred to as “Vanitas”, typically depicted decaying flowers, rotten fruits, skulls, hourglasses and other symbols to represent the transient nature of all earthly goods and pursuits, including the fleeting moments of both happiness and sorrow. Based on this concept, Zhe Zhu gathers objects that are in different stages of consumption or decay and arranges the photographic setting according to the composition of the old “Vanitas” paintings. Using either a large-format film camera or a medium format digital camera to record these images, the artist creates photographs that feel like actual Old Master paintings, which expresses a unique form of individuality in the face of our current age of consumerism.

Artist’s Website: www.zhezhu.net

朱喆(b.1993, 广东深圳)

2015 年毕业于纽约视觉艺术学院摄影专业。他的作品曾刊登在英国《Wallpaper*》杂志 (2013),最近荣获了 Surface 杂志的新锐艺术家奖。近期参加的展览包括首届长江国际影像双 年展(重庆长江当代美术馆,2015),第八辑摄影选集群展(艺术摄影中心,科罗拉多州柯林斯 堡,2015),朱喆:维尼塔斯(后苑,北京,2014),别处(普拉特艺术学院 Dekalb 空间,纽 约,2014)。

朱喆历时两年创作的“维尼塔斯”系列灵感来自于十六、十七世纪荷兰静物油画类别之一:虚空 派 (Vanitas)。在这些油画里,象征生命力的物件,如水果、花朵和象征衰亡的物件,如头盖骨、 沙漏常常被并置,暗示转瞬即逝的欢愉与悲伤。基于此,朱喆将经过不同程度消费后的物件进行 再组合,并参照虚空派的布景方式设计拍摄构图,用大画幅胶片相机或者中画幅数码后背相机记 录下来,因而作品既带有成熟深重的油画感,又被赋予消费时代下凝练的个体情绪。