Yet upon further inspection, it is evident that their purposes
run parallel; each piece — a stacked pyramid of crumpled rice paper, a pile of woven baskets, archival material and oiled canvases — seems to be the embodiment or reflection of what Zhu has maintained
throughout his career, regardless if the media were everyday household items, objects of suburban life, or what the critic Li Tuo has deemed «thick paintings».
A constant
parallel between what is beautiful and what is terrifying, atomic bombs, ignited explosions, destructed landscapes, all of which surface as
running themes
throughout his artistic career.