旷野上 On the wilderness
纸上红铅Red lead on paper, 2021
芒室 Glowing Hous
布面油画 Oil on Canvas, 210x170cm, 2016
关于真理的选择（真理屋）stay in truth（house of truth）
布面油画 Oil on Canvas, 40x30cm, 2016
自明 Spontaneous Light
布面油画Oil on Canvas,30x24cm , 2018
世界 The World
布面油画Oil on Canvas ,40x30cm, 2019
雨夜不灭的火焰unquenchable in the rainy nights
布面油画Oil on Canvas,30x24cm, 2019
布面油画Oil on Canvas, 210x170cm, 2016
无帆支桨No Sheet for Paddling
布面油画Oil on Canvas, 30x24cm, 2018
布面丙烯Acryilc on Canvas,190x150cm, 2020
布面油画Oil on Canvas, 30x24cm, 2019
布面油画Oil on Canvas, 22x27cm, 2020
布面油画Oil on Canvas, 60x50cm, 2020
布面油画Oil on Canvas, 30x24cm, 2019
布面油画Oil on Canvas, 200x150cm, 2020
自由树 Free Tree
布面油画Oil on Canvas, 210x170cm, 2020
荒诞之海 桅杆之上Mast the Absurdities
布面油画Oil on Canvas, 30x40cm, 2019
布面油画Oil on Canvas, 30x24cm, 2019
Behold, The fire!
— Discuss the turns in Zhang Bofu's painting language
By Yao Siqing
“祈求他的无限的恩泽，为我们挡住那万钧雷霆” Pray for his infinite grace,Stop the thunder for us,纸上红铅Red lead on paper,2021
纸上红铅Red lead on paper,2021
The fire jumped out and became the main symbol in Zhang Bofu's paintings. This is undoubtedly not only a change in the content of the picture but also a change in the way of expression; it tends to be symbolic, which means that the artist is trying to speak to the audience in another language because of the previous grammar that deliberately avoided personality has failed. Painting fire has become an unavoidable inner need of Zhang Bofu. The fundamental reason is that the impact of death guides him to ask questions about the existence and value of life. Therefore, this series of recent works are also referred to by the artist himself as a more "returning" painting, which is what Levinas refers to as an experience of "being against death". However, this kind of personal experience-based interpretation cannot be fully answered. Why has the fire to be symbolic? Why is it not expressive or realistic? Is it rebelling against the past self or turning into it? Perhaps the clues to answer the question are still in the painting, which requires the viewer to further gaze at the fire.
林中 In the woods
布面油画Oil on Canvas, 30x24cm, 2019
往复之路 Way of Samsara
布面油画Oil on Canvas,30x24cm, 2021
What kind of fire do we see in it? The man in suit and leather shoes named ‘The World', which head is fire and the face is hidden. This can vaguely see the shadow of Zhang Bofu's previous works — he is obsessed with drawing an anonymous, anti-portrait character spirit slicing, after erasing the traces of individualized experience, only the fuzzy positioning and established actions in the huge social collection are left, such as the artwork 'Shape Maker' who lost his head, and even worse, only left the blindly moving legs, such as the painting 'No Sheet for Padding'. In addition, there is a fire that cannot be extinguished on a rainy night. It spirals upwards, stubbornly pointing upwards, illuminating a small piece of ground in the foreground, but behind it is still a dark area, which is hidden by the curtain. The setting of this background makes it relevant to another painting ‘The Curtain’.
岸边 The Shore
布面油画Oil on Canvas, 30x24cm, 2020
布面油画Oil on Canvas,50x60cm , 2021
The artwork 'The Curtain' is one of Zhang Bofu's most important works at this stage, and it also most comprehensively translates the artist's thoughts and feelings about life and the world. In this artwork, the fire burns on the stage, and even grows hard edges and corners. The curtain only slightly opens a gap, keeping the audience in front of the stage mysterious. The play has not yet been performed, that is, the stage and the daily life have not yet been connected, but the audience outside of the painting is placed in the background by the painter. Because of this special perspective, the privilege of spying ahead is given：before the birth of individual life, the impermanence encounters and self-awareness began, it was just a group of majestic flames. A burner in a green robe turned his back to us, holding a long stick to turn the fire so that its breath flowed and not extinguished... the curtain was about to be pulled open. When the artist intends to explain the prior knowledge of the origin of life through visual schema, it can only be presented as a symbolic means. In the painting, the solid and powerful shape of fire seems to further reflect the artist's desire not to be extinguished by the influence of the external environment, and at the same time carefully control the fire not to spread and cause harm. It must be noted that Zhang Bofu gave fire to these two characteristics are exactly the opposite of the fire of all experience. The fire of experience, which will inevitably disappear or spread with the passage of time, is excluded from the world in the painting; at this point, we have the first recollection of the gaze of the symbolic fire.
布面油画Oil on Canvas, 80x60cm, 2021
等待的维庸 pending Villon
布面油画Oil on Canvas,50x60cm, 2021
Symbolism, as a simplified schema of idealism, has a typical feature of looking for a world beyond natural time, which means making fire strong. Summoning all kinds of fire patterns that we know in history, the first thing that jumped out of our minds might be the fire that Heraclitus used as the origin of the world, the fire in the intergeneration and restraint of the five elements, the fire of Zoroastrianism... bonfires, torches, candlelight, everything the light of enlightenment that claims to dispel darkness and ignorance is reflected in the eyes of human civilization and is depicted as desirable and controllable. Symbolism rewrites the duality of fire and erases the violent Nero burning. Eliminating the positive moral connotations that give it, also makes its negative meanings cleaned and filtered into pure energy and vitality. As a result, fire can be placed in the position before the beginning of the world, as the basic element to support its operation. In Zhang Bofu's writings, the above-mentioned will to recode "fire" can also be found. The image of the fuel-supporter in the painting represents the care of fire as its origin. A focused human sight is personified. This is also existing in other pictures. In the expressions such as in the artworks 'Two Clusters', 'New Tree', 'Round Tree', 'Cliff Cypress' and 'Free Tree', he further emphasized his eagerness to conceal its brilliance by transforming the "fire" into a "tree" rooted on the earth. Until here, the fire described by Zhang Bofu has the second aftertaste.
生草 blind weeds
布面油画Oil on Canvas, 30x24cm, 2021
锚地 Anchore Place
布面油画Oil on Canvas,50x60cm, 2016
From the transformation of "fire" to "tree" and the transformation from "fire" to solid-state, "fire" has obtained an opportunity for continuous growth. At the same time, Zhang Bofu intends to infiltrate the transcendental primordial energy into the world of experience, thus revealing a sense of persistence for vitality. This separates the "curtain" with 'The Curtain' of the life of death and the pre-existence, which also can echo each other. In these paintings of trees, it is hard to guess whether Zhang Bofu’s memory of walking in the Black Forest in Germany is evoked, but the painting’s obsession with "life" does have a deeper relationship with his ideology: human death became the core of Zhang Bofu's lingering thinking during this period. Looking back at this shore from the edge of the other shore, the perplexity of "how to live" developed from the deadness of man was once a "big question" in classical philosophy. Plato's "Phaedo" is a famous text that explores this issue. Socrates, who believes that the soul is immortal and thus died in peace, demonstrated the tremendous tension of the duality of soul and body... However, in a more personal context, Zhang Bofu finally absorbed the Levinas-style “reverse” "dying and being", Levinas uses "enjoyment" to understand the relationship between individuals and others in life. In fact, in the shadow of death, he puts forward a positive ethical life aspect, and thus regards the survival of the individual as a series of reflexive rhythms. This clarification of this mental journey first helps us understand Zhang Bofu’s change in painting concepts: in the past, he regarded painting as acting without self-purpose, an objective existence that does not respond to the subject’s own needs, even he believes that the emphasis on individual experience is the lack of self-discipline in practical rationality; but this view has now been changed by the real demand of "being against death", which has changed the language of painting.
火湖 Lake of Fire
布面油画 Oil on Canvas,50x60cm,2021
布面油画Oil on Canvas,80x60cm , 2021
This also forces us to further understand the existence of the "burner" in the painting, especially the ethical appeal it represents. In addition to the work 'The Curtain', the same character also appeared in the work 'Free Tree', and its image became more invisible, like a group of ghosts floating in the bushes, and the slender poker in his hand was also in a trance. It becomes the oar of the boat, and its function is more mixed and ambiguous between the combustion support and the borrowing force. It’s not hard to notice that in the artworks 'Mast the Absurdities' and 'Solar Term', this fuel-supporter is almost incarnate as a boat on the sea waves. The relationship between the person and the person is intertwined tensely here, not an absolute opposition, nor an absolute entanglement; but it is also in this way that the subject falls off a functional position, from the machine of the artwork ‘Shape Maker’ falling off from the action, falling off from the social web represented by the suit in the work 'The World', the experience of being able to speak of existence is constantly moving in the eternal tension of the impermanence of death and the struggle of life. Behold, the fire! In the variation of "fire" and "tree", Zhang Bofu gave us an opportunity to revisit the image of "fire"; and after several rounds, we finally discovered that this strange fuel-supporter in the fire, It is not so much that Zhang Bofu is attached to the vitality of fire and trees, but rather that he is obsessed with reshaping the ethical relationship between "I" and "fire" through the image of a fuel-supporter, which ultimately transcends the symbol of "fire" simple expression of schema. Perhaps, under Zhang Bofu's strong symbolic impulse this time, there is also the possibility of another turn of painting language.
2007 毕业于德国卡塞尔艺术学院自由艺术Prof.Kurt Haug 工作室，Meisterschüler。
2001-2007 Studium “Freie Kunst”bei prof.Kurt Haug an der Kunsthochschule Kassel Deutschland.Ernennung zum Meisterschüler.