For me the paintings symbolize precise, poetic and brutal miniature of our time. The body language and the memory, they never lie. In these paintings I can feel bodies possessing no knowledge about any purpose of their lives. The painter captured the helplessness and the fragility of (not only) female creatures growing up reduced to a tempting body. She also captures the today’s world estrangement caused by economic pragmatism. Market society requires only selfish and isolated individuals. Even relationships are an article now, bodies are an article now. And if the article is unsatisfactory, it can be replaced anytime. People shall deny everything they see and feel. They must believe merely in other people’s words.

Painting I found especially captivating carries the name Emancipation 10. Emancipation in this case is ironically reduced to a raging eroticism. In market society that’s just a new face of slavery. It is highly poetic world filled with crude irony and even a polemic with novel The Plum in the Golden Vase (Jin Ping Mei) can be found in the painting. Figure is blending with still life, reflecting deep processes of thoughts in Chinese culture. It makes all the well-known situations erode sensitively yet steadily. The painting is soaked up with debatable moments and uncompromising controversy of sexuality. But I also feel the humility and the awareness of no men being wise enough to realize every evil they do.

All author’s paintings are interlocked with numerous stories of victims who live underneath the visible surface without even being able to touch it. The system they live in can be changed exclusively when they cut themselves with glass. The painter (who is also a writer) simply mustn’t cover the glass trails.

The genuine love for the world embraces and cherishes the diversity of life and therefore makes the gender or sexual orientation unimportant in the end. What we cannot affect is the fact of spending our childhood as a boy or a girl, or reality of wandering through life in male or female skin. That’s how we are and will be perceived since birth. But the only thing that matters anyway is who we are inside.

A behaviour seen as empathy is many times just an emotional imitation. Therefore the painter is not moved by any demonstration of sentimentality. It is a pure convention anyway.

These are images of a false nirvana. Images of people convincing themselves that they do not need anything, cannot change anything, that there’s no meaning in anything whatsoever. But the journey continues and we know that a good life is a process, not a state of being. It is a direction, not a destination. So when a person asks what’s the meaning his life, that’s nothing but a dissatisfaction with his very self. But is this dissatisfaction a symptom of an inner crisis? Freud claimed that the individual’s quest for the meaning of life has become a disease. I strongly disagree. In contrary to Freud’s opinion and in accordance with the author’s one I see this quest as a healthy process. When an individual knows nothing about the meaning of life then he or she tends to care less about living itself. Sometimes even throws it away completely and it doesn’t matter if the life seemed perfect from the outside.

The inner emptiness and existential vacuum is spreading around in this era. Zhang Yui captured this phenomenon with an astounding precision.