Zao WuJi (趙無極) Zao Wou-Ki (1920-2013) Lyrical Abstraction Art Informel Chinese

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Zao Wou-Ki (1920-2013)was born in Beijing, China on February 13, 1920 to a wealthy family descended from the Song Dynasty. When Wou-Ki was of age, his father could afford to send him to a respected art school. He followed in the footsteps of the previous generation of Chinese artists that began to travel West for training and inspiration. French-educated Chinese artist Lin Fengmian was his teacher at the Hangzhou National College of Art (known today as the China Academy of Art) from 1935-1941 and encouraged him to study abroad in Paris. Wou-Ki made the move in 1948 (with a substantial amount of financial backing) and later adopted France as his new home, remaining in the country, besides a few short trips abroad, until his death. Shortly after Wou-Ki’s departure, China’s political situation became volatile due to the Communist takeover, making any return attempt difficult and dangerous. His signature is a symbol of his unique cultural identity, as his first name is written with Chinese characters and his last name in a Western orthography. France, especially the doors of the Louvre, welcomed him with open arms. His first day in France consisted of spending the day admiring the originals of works he had only seen in print. In Paris, Wou-Ki quickly joined a large postwar French art circle, comprised of key writers, poets, painters, and cultural figures including Joan Miró, Pablo Picasso, Riopelle, Vieira da Silva, amongst others. This networking helped position himself at the top of the Lyrical Abstraction movement. Although he was now a part of a larger group, he worked tirelessly to break stereotypes associated with traditional Chinese painting and earn respect for his own unique multicultural identity and “voice”.
Wou-Ki died in Nyon, Switzerland in 2013 at the age of 93 due to complications from Alzheimer’s Disease. In his old age and deteriorating mental state he stopped producing paintings. His life philosophy was simple: “Everybody is bound by a tradition. I am bound by two.” He believed that as long as his work was a true representation of himself, no criticism would affect him.

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