ZHENG LU

The title of the show, Root Metaphor, refers to a concept developed by American academic Sarah Allan, based on the idea that early Chinese philosophers used physical principals of the natural world to better understand mysteries of the cosmos and the nature of man. Water, a shapeless medium that can be potent or supple, dynamic or latent, can take on abundant meaning and serve as a tangible model embedded with conceptualised ideas. Zheng Lu employs imagery of water and the principals that govern it to reveal a world we cannot see.

‘With little bearing on the phenomenal world, these models belong to an invisible world that is contrary to our mundane and recognisable universe,’ Zheng explains. ‘Various natural phenomena play the role of models in the system of abstract philosophical principles.’

Zheng illustrates this concept with his new series ‘Fluid Mechanics’; abstract metal sculptures that are an aesthetic departure from his acclaimed ‘Water in Dripping’ series, where he poetically expresses water in stainless steel form, evoking dynamic splashes suspended mid-air. Here, Zheng approaches his investigation on a micro-level inspired by principals of applied mathematics, physics and computational software designed to produce quantitative predictions of fluid-flow. The practical application of this branch of science is used to study ocean currents and weather patterns, as well as develop technology for aircrafts, rocket engines and wind turbines.

Fluid mechanics often uses computer generated grids to explore principals of water flow, but Zheng’s lattice-like structures forged from titanium and stainless steel take the idea further by also considering the fundamental human desire to make sense of what we don’t know or can’t see, while at the same time, imparting meaning drawn from collective cultural experiences.

‘Geometry is probably a rational outcome of the life form,’ he says. ‘These patterns, seemingly simple but actually unstable, complicated, and orderly, are showered with human-generated metaphors.’ Zheng’s metal structures are rhythmic and delicate, while also conveying the power and momentum that comes from fluid in motion. But some viewers will find symbolic meaning in the incidental geometric shapes that are formed, as with NACA0012 Airfoil, in which a cross appears, a result of when the tail of an airplane cuts through air.

Also on view is Unknown Circles, a spatial installation first shown at the Museum of Contemporary Art Taipei (MOCA) in Zheng’s solo exhibition Shiosai in 2015. Comprising a series of luminous black orbs in various sizes, the work is inspired by the principle of wave interference, a natural phenomenon that occurs when two waves collide while traveling along the same medium. Where the spheres connect to each other and the wall, expanding ripples appear, the energy of the interaction validating one another’s presence.

‘I imagine these spheres being liquid and as such, collisions between the sphere and the space around it causes ripples across the surface,’ Zheng explains. ‘As the ripples stack atop each other, they magnify the vibrations in some areas, while diminishing the vibrations in others. The positions of the waves establish each other’s existence, reveal their existence, or reveal its meaning.’

Additionally, the exhibition features new lightboxes that evolved from the artist’s ‘Insubstantiality ‘series, which made its American debut during his solo show Undercurrent (Sundaram Tagore New York, 2017). These bright, colourful works are imbued with Daoist philosophy and play with the notion that reality is not always what you see. A convex lens placed over glass magnifies and deconstructs the imagery beneath, resulting in vibrant abstract compositions similar to what one might see when looking through the lens of a microscope.

These new series are an organic evolution of Zheng’s acclaimed ‘Water in Dripping’ series, of which there will be several recent works on view. ‘Water is a very important motif in my art,’ he says. ‘As a key element in Chinese philosophy, it was observed, visualised and ruminated upon rather than getting examined in terms of logic.’ With these works, Zheng Lu integrates ideas rooted in Chinese philosophy with explorations of physical forms to reveal deeper metaphysical truths, realised in dynamic contemporary sculpture.

Zheng Lu graduated from Lu Xun Fine Art Academy, Shenyang, with a B.F.A. in sculpture in 2003. In 2007, he received his Master of Fine Arts degree in sculpture from the Central Academy of Fine Art, Beijing, while also attending an advanced study program at the École Nationale Supérieure des Beaux-Arts in Paris.

Zheng has participated in numerous exhibitions, including at the Museum on the Seam, Jerusalem; the Ekaterina Cultural Foundation, Moscow; Musée Océanographique, Monaco; Musée Maillol, Paris; the National Museum of China, Beijing; and the Shanghai Duolun Museum of Modern Art, Shanghai. He had solo exhibitions at the Museum of Contemporary Art, Taipei in 2015, one of the leading institutions in the region, the Long Museum, Shanghai, in 2016, and the Song Museum in Beijing in 2017.