Ji Zhou was born in 1970, Beijing. After graduating from the Printmaking Department of the Central Academy of Fine Arts in 1994, he continued his postgraduate studies at the University Paris Ⅰ, where he received his MFA in 2005.

Ji Zhou communicates his unique perspective of space and time through photography and sculpture. He takes pictures of an object or a space at different times and alternative angles, disassembles them, then recombines them into a collage showing the integration of time and space. His “dust·track” series was displayed in many Asian art exhibitions, including The Armory Show in 2013. In recent years, Zhou has frequently collaborated with galleries and art institutions. In June 2017, he was once again invited by the KLEIN SUN and came to New York with his art works. On a summer afternoon, Lydia Duamnu interviewed him at a coffee shop in TriBeCa, New York.

Lydia Duanmu:

Most of the art works you are showing this time in New York are about cities and gardens disassembled and reconstructed. Would you tell us about your artistic vision in these pieces?

Ji Zhou:

These images reflect my feelings of this world from my personal point of view. They are a realistic record of the scenes, disassembled then recombined to become seemingly unrealistic images, but in fact they are the most truthful representation of those scenes of life. Every day, we come across a lot of information fragments that overwhelm us. We judge the authenticity of each fragment on our own. The result is a personal integration of these fragments. In the end, it’s the same space, the same thing but at different times and different states, disassembled and recombined through photography before it is re-presented to the audience.

Lydia Duanmu:

There is a series of photography of sculptures in your works, in which you used maps to make mountain sculptures then took photos of them. Can you talk to us about that?

Ji Zhou:

I have carefully thought over this group of works. First, I think it must be visually beautiful. The map is a tool by which we know the world, but it’s also an expression of science. I casually molded it into a landscape, highlighting its texture on the surface, but it is empty inside. This group of works is a perfect representation of my combined interest in sculpture and the art of photography.

Lydia Duanmu:

Your photography “The building of books” is a series that collectors favor as well. Would you tell us about it?

Ji Zhou:

In this series, what I wish to express is entirely my personal life experience, a kind of numbness to the trend of globalization. Nowadays, wherever you go in the world, you see similar things. The characteristics of each city are gradually worn down and the cultural features are disappearing. I use books as the theme because they are the wealth of mankind and the cultural essence of each place on earth. They integrate art, history, traditions and so forth. We use the pages of these precious historic books to construct the high-rise model buildings. The idea is that as the world integrates into one, travel has gradually lost its fun, and many places become so much alike. Why have we become numb and unexcited when we travel to different places these days？This group of works attempts to provide an answer.

Lydia Duanmu:

You hate it, don’t you?

Ji Zhou:

Not really. Just I always wonder why I am not excited any more when I travel. There are places I have not been, but I can guess what they may look like. Global travel has run out of charm for me but this didn’t happen in one day. It’s shame that global integration gives people the side effect of numbness towards life. That’s why I made these scenes especially beautiful. Behind the beauty is emptiness, a regret of losing the historic richness of the world.

Lydia Duanmu:

Does your experience of living in Europe have an impact on your works?

Ji Zhou:

Yes, it has an impact on my perspective on painting. Previously, when I was an artist in China, whether you were a good artist was basically judged by a set of criteria, usually on the techniques you used. This easily strangles an artist’s style. Before going abroad, I was confused, and I often questioned myself if I was an artist or not. After going to France, I was convinced that I could only be an artist. Since then my art has flourished because of this sense of freedom.

Lydia Duanmu:

Many Chinese artists don’t have the experience of studying abroad. What do you see in their local style from their works?

Ji Zhou:

That is not so obvious these days. The Internet is so developed that many Chinese contemporary artists are learning the techniques popular in the West from the websites. But you’ll soon find that many artists are using the same techniques. Therefore, contemporary art is a question of the personal characteristics and feelings. Whether one has received education abroad or not doesn’t really matter now.

Lydia Duanmu:

When working with different galleries, do you take into consideration of the local market’s unique characteristics and adjust your art form accordingly?

Ji Zhou:

In general, the European art market focuses on life and classic taste. The US art market prefers avant-garde, eye-catching and fast-paced styles. But my works are not made only for those who are interested. No matter who they collaborate with, artists need to have their own things going on. The rest of it will be taken care of by the galleries. There is no need for the artists to be involved in marketing. Art takes on its own destiny when once it’s created. Outstanding artists never need to please their clients’ personal tastes and follow marketing trends.

Lydia Duanmu:

What do you think about photography in China’s collection market?

Ji Zhou:

As early as a decade ago, Wendi Deng collected my “scaffolding” series. When people appreciate the artistic value of an art piece, the medium of the piece is no longer important. The point is more about Chinese people’s appreciation of these artistic values. China’s photography collection market has not yet arrived, but I believe it soon will.