From 1985 to 1986, Zhang Peili used swimming and music (jazz) as the subjects for a series of paintings. Although Backstroke Swimmer can still be classified as a work in the domain of realism, at the same time it challenges the usual ideological content, narrative patterning and overly sentimental expression typical of Chinese realism. As Zhang reflected on the school of realism of the time: “the depiction of emotions in these works of realism are too artificial and standardized, there are too many man-made elements present. We believe that these paintings should not take on so much. The presence of too much narrative content or historical responsibility can seriously weaken the value of a painting. We aim to bring an end to this.”

In Zhang’s early work, the use of various blue and grey tones can be seen to lend the scenes depicted a certain atmosphere of loneliness and melancholy. The figures depicted lack detailed characteristics and appear vague, cold and detached, conveying the monotony of late 1980s urban life. His work avoids obvious themes and the construction of narrative, instead favouring the use of symbols and symbolic expression in his work. His Swimmer series and New Space ’85 series became iconic works through China’s first avant-garde art movement ’85 New Wave. From 1986 onwards, Zhang Peili has displayed interest in numerous other creative avenues outside of painting, particularly in videography, venturing to create several works of art in video form.

(Edited by Lijie Wang & Miao Zijin, 2019)