Zhou Meng: The Self-Reader

Written by Huang Shengqin

In Bernhard Schlink's "The Reader," there's a passage that reads:

"Our lives are layered, one layer on top of another,

so that we constantly touch the old scars of the past in new encounters,

and the past neither vanishes nor rests, but is alive in the present reality before our eyes."

This passage seems to be a key to interpreting Zhou Meng's works.

The flowing lines,

the poetic diffusion,

the obscure metaphors

—Zhou Meng's diverse and distinct artistic creations draw us into countless overlapping "parallel worlds."

Those encounters,

those imperfections,

those vivid realities

—Zhou Meng tells his stories and enjoys the purity of being a "self-reader."

Zhou Meng is undoubtedly an interesting person.

Coming from a family deeply connected to medicine, he is deeply fascinated by art.

Although he pursued art with single-minded dedication, he studied fashion, oil painting, and dynamic imagery in succession.

Besides being an artist, he has also become a patron of several international art organizations.

Zhou Meng's life is filled with many peculiar and profound stories, some still awaiting clear meaning.

He reflects these vibrant realities in his multifaceted creations.

"From the beginning of creation,

it's a continuous dialogue process that spans the present and the past, existence and imagination. 

In this evolving process, dissolution and transformation permeate my artistic practice."

In this artist, whom I jokingly call a "non-typical post-90s,"

more cognition,

surprises,

and updates are to be expected...

“0.064g” Exhibition Scene

Placing the Self in a Larger Field

Two years ago,

Zhou Meng had his debut solo exhibition "Loner" at Shanghai Bund No. 22,

which he described as a "report performance"

after transferring from Pratt Institute's fashion department in the U.S.

to Camberwell College of Arts' oil painting department in the UK.

At that time, he openly displayed his sense of loneliness in his paintings and video works.

"I believe that only when you feel lonely do you truly understand yourself...

Nowadays, we live in a noisy world, but ultimately, we are all extremely 'self-centered'."

A year later,

Zhou Meng had his first solo exhibition in London, "0.064g."

"Although we can now freely go to many places and meet various people,

 it still imposes many constraints on us.

We are bound by many definitions and information.

It's like if you are an artist, you have to paint.

If you are a writer, you have to write.

There are many rules that cannot be broken or changed."

Through sculptures, paintings, and video creations,

Zhou Meng used "0.064g" as a clue to reflect on life seemingly cocooned.

In this exhibition, Zhou Meng still focused on self-emotion,

but this self-reflection was slowly introduced into a more realistic, dynamic space.

Now studying for an MA in Dynamic Imagery at the Royal College of Art,

he recently completed an art project "OVERTONE" at St George in the East Church.

This exhibition, constructed through sound and scent, brought the audience into a more "delicate" field.

By collecting those ordinary but easily overlooked sounds and smells,

the audience naturally felt feedback from different senses,

awakening unique memories and experiences.

It's not hard to see that Zhou Meng's persistent focus on self "emotional state" is continuously being extended

into larger realms and more diverse forms of expression.

“0.064g” Exhibition Scene

"Previously, the 'sense of loneliness' came from self-awareness,

seeing more of oneself.

 As one delves deeper, one gains more understanding in various aspects.

However, these touches are still subjective, starting from 'me'."

Growing,

feeling,

touching,

understanding,

transforming from a "self" perspective... 

Zhou Meng insists on telling his story, reading his self purely,

without admonishment, demands, or definitions.

"I hope you can watch my story, not peep into it.

If you want to read more possibilities, use your memory to see my story."

“0.064g” Exhibition Painting "I2" 2016

“0.064g” Exhibition Video "Citizen Xiang" 2016

Placing the Self in the Guidance of Lines

At first glance at Zhou Meng's works,

I am always drawn to the "lines" in his images. 

From the early lines entwining the human body to the lines now lingering or breaking through the picture,

Zhou Meng's use of lines not only reflects his deepening self-awareness but also mirrors his interaction with the external world.

"Previously, the lines I used were mainly for the 'people' in the picture,

but now I am gradually abandoning the lines entwining the figures,

turning them into a means of rendering the atmosphere of the picture."

As lines shift from entwining the human body to shaping the atmosphere,

their meaning also shifts from mere "restraint" to the narrative layout of the entire picture story.

"Previously, I used 'lines' to pull the figures out for the audience to see.

Now, I let the figures and the uncertain picture space naturally generate emotional changes."

The lines traversing the images become Zhou Meng's hidden "poetry" and "thoughts" within the pictures.

They enliven the movement of the body and place the picture in a state of "unfinished" exploration.

This method of expression and emotional conveyance lays the groundwork for this "reader's" fluctuating plot.

Zhou Meng "Anonym 27" 150x120cm Ink on Paper 2017

Zhou Meng "Anonym 6" 150x120cm Ink on Paper 2017

Placing the Self in a Natural State

Influenced by his family's medical background,

Zhou Meng had a certain understanding of the human body from a young age.

Growing up, he continued to focus on human body behavior.

During his overseas studies,

he not only "burned the midnight oil" to witness master-level dance performances but also personally practiced modern dance.

Zhou Meng says he loves the relaxation of muscles during dancing,

as if the body is gradually returning to nature, returning to its original state.

This is a state he wants to express and pursue.

Thus, in Zhou Meng's works,

we see "bodies" that are not deliberately given gender, appearance, or identity, stretching and moving in the picture.

Zhou Meng shifts our perspective from the habitual focus on "human figures" in images

to the observation of the body, limbs, and behavior.

“Overtone” Exhibition Scene

At the same time,

Zhou Meng seeks to dissolve the constraints of paper-based paintings on the image's form.

"Fixing the human body on the picture already imposes a certain level of restraint

on the natural body state I hope to express.

So, I don't want them to be further constrained."

On his personal website, Zhou Meng sets up his paintings to be viewed in a rotatable manner.

This allows us to follow our observation habits,

understanding angles,

and personal emotions evoked by his works from a more subjective perspective.

“Overtone” Exhibition Scene

"My current painting creation is trying to slowly detach from the introduction of 'figurative characters,'

turning the picture back to a purer, more emotional atmosphere."

Blurring the "main characters,"

allowing "perspectives,"

and generalizing "themes,"

Zhou Meng aims to construct a virtual and free art world.

There is the truest self and the constantly complete self.

Placing the Self in a Unique Balance

From Zhou Meng's paintings to his more diverse creations,

he seems to generate countless parallel time-spaces.

"My paintings, videos, and even other types of artistic attempts seem to unfold in parallel."

For Zhou Meng, painting is like a long-term cultivation,

while other artistic creations are more like attempts and challenges.

Through the visual of imagery,

 the auditory of sound,

the olfactory of scents,

and the tactile of sculpture,

Zhou Meng continuously tries to awaken the body's, memory's, and experience's natural collisions with his works.

Letting the works adapt to the audience and the audience to understand the works.

"Many things might originally have no meaning,

but we give them special meaning in our own way."

He tries to make his works more "lively" to interact with people.

Blurry or clear.

Illusory or real.

Tampered or genuine...

Zhou Meng fills his curiosity into his works using different methods, forms, and states.

Although each seemingly independent piece influences the "continuity" of an artist's creation,

Zhou Meng enjoys the "formatting" state when immersed in new creations.

“Overtone” Exhibition Video "Wild Poppy" Screenshot (2016）

Drunk in a moment

Becoming oblivious

Or said

Not thinking

Empty existence

Returning to oneself

Equal with spirit

An inch of muscle trembles

Sound and touch

Breath and taste

Body cognized

All unconstructed connections

As a carrier

Perception is the sum of past experiences and experiences.

——Zhou Meng, "My Color"