Zhang Huan, who efficiently uses visual effect as much as its extremity, shows potentials that contemporary art asks for. This effect which can be found in most of his works capturing our eyes comes from its enormous immeasurable size. Visual effect which is based on formats and images that carry political, religious, symbolic weight and especially with enlightening clichés of Chinese society and face of Buddha, can be immediately be felt. The grandiose of a wild tiger or a proletariat is used as a subject by using ashes on canvas and is competent enough to create a reason towards destruction. Usage of ashes means that Zhang Huan is mesmerized in traditions of religion and culture and also forecasts that someday, paintings will be destroyed and turned into ash.
Zhang Huan, who uses materials that symbolizes Chinese traditions focusing on China’s own mentality and temporality, was born in 1965 in Anyang, Henan Province. He graduated from Henen University in 1988; graduated from Central Academy of Fine Art in Beijing in 1993. Zhang Huan currently lives and works in Shanghai and New York. His works are part of public collections at Museum of Modern Art in New York, Guggenheim, Metropolitan Museum of Art, Fukuoka Asian Art Museum, National Gallery of Australia, Pompidou Center in Paris, Louis Vuitton Foundation, and Shanghai Art Museum.