In the compositions of Zoon-Dreamscape, Huang Zhiyang creates a sense of visual disorientation. Not only is one reluctant to enter the jungle, it is also impossible to penetrate. Precisely because of this, the Zoon-Dreamscape works appear as a series of walls blocking one’s view. One may feel that there are some spaces where entry is feasible, but these also give rise to trepidation and fear regarding the next step. The psychological sensation, brought on by Huang’s unique visual language, is akin to being lost in an impenetrable jungle, and the result of his juxtaposition of colors in each painting.
Moreover, Huang Zhiyang’s choice of colors summons to mind thoughts of lichen or fungi. In Huang’s words, it seems that the very air is permeated with a “beautiful but pathological violence”.
Huang Zhiyang is widely regarded as a master of innovation using traditional ink and brush painting. His gestural 360-degree painting, placing the xuan paper on the floor, walking around it and painting freely from the four sides, has been likened to the abstract “action painting” works of American artist Jackson Pollack. This would however be a misnomer, since it undermines the scholarly training and skill Huang possesses in the use of the ink and brush. His calligraphic prowess, and his sophisticated engagement with Chinese traditional painting history and technique are what underlie his exciting tour-de-force love of ink and brushwork abstract painting. Huang represented Taiwan in the Taiwan Pavilion at the 1995 Venice Biennale, and will exhibit in 2014 at China’s National Museum on Tiananmen Square. Huang’s work are collected by the US State Department’s Art in Embassies Program, the UBS Bank, Switzerland, Hong Kong Museum of Art, the Taipei Fine Arts Museum, and private collections.