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    Open a larger version of the following image in a popup: Zhengjie Feng, China 2005 Num. 24, 2005
    Open a larger version of the following image in a popup: Zhengjie Feng, China 2005 Num. 24, 2005
    Open a larger version of the following image in a popup: Zhengjie Feng, China 2005 Num. 24, 2005
    Open a larger version of the following image in a popup: Zhengjie Feng, China 2005 Num. 24, 2005
    Open a larger version of the following image in a popup: Zhengjie Feng, China 2005 Num. 24, 2005
    Open a larger version of the following image in a popup: Zhengjie Feng, China 2005 Num. 24, 2005

    Zhengjie Feng

    China 2005 Num. 24, 2005
    Oil on canvas
    150 x 150 x 2.5 cm
    59 x 59 x 1 in
    © 2005 Zhengjie Feng / Courtesy Fundación AMMA
    Photo: Alejandro Paez

    Further images

    • (View a larger image of thumbnail 1 ) Zhengjie Feng, China 2005 Num. 24, 2005
    • (View a larger image of thumbnail 2 ) Zhengjie Feng, China 2005 Num. 24, 2005
    • (View a larger image of thumbnail 3 ) Zhengjie Feng, China 2005 Num. 24, 2005
    • (View a larger image of thumbnail 4 ) Zhengjie Feng, China 2005 Num. 24, 2005
    • (View a larger image of thumbnail 5 ) Zhengjie Feng, China 2005 Num. 24, 2005
    • (View a larger image of thumbnail 6 ) Zhengjie Feng, China 2005 Num. 24, 2005
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    Portrait of a woman. She appears to be floating in a void or falling gently. The most striking features are the fuchsia and turquoise tones, and her eyes—which have pupils but no irises and gaze in different directions, outward, as if indicating a contradiction in the woman’s mood.
    Zhengjie Feng is known for his striking portraits of women, in a style reminiscent of pop culture. He combines this style with certain Chinese artistic traditions, such as 1930s Shanghai poster art or the traditional New Year’s paintings of Mianzhu, from which his use of color derives. Through these elements, he offers a critique of modern China’s rampant consumerism and its beauty standards. The characteristic erratic gaze of his figures reflects the individual’s inner disconnection caused by the artificial outside world.
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