Wanxin Zhang: California Artist, Too
South Gallery
Wanxin Zhang’s California Artist, Too (South Gallery) draws on his personal and artistic journey from Manchuria to California. Inspired by the Bay Area’s funk movement, Zhang blends its rebellious energy with personal memories and social commentary. Over the past two decades, clay has become not just his medium, but a conduit for his emotions, ideas, and reflections on both personal and societal experiences. The exhibition’s title cheekily riffs on Bay Area artist Robert Arneson’s iconic ceramic sculpture California Artist (1982) – held in the collection of SFMOMA – as a way to reimagine a space for himself in a Post War art historical lineage.
The new works in this exhibition were created largely during the COVID-19 pandemic and its aftermath. During this time, Zhang found himself emotionally torn—grateful for the relative safety of his family and community yet devastated by the pandemic's global impact. This internal conflict deeply influenced the pieces he created, which simultaneously seek calm, connection, and peace, while reflecting the chaos and discord in the world. The large wall reliefs featuring Buddha-like faces are part of Zhang’s ongoing “Meditation Series,” begun in 2017. In Zhang’s upbringing, the figure of the Buddha symbolizes wisdom, morality, and peace—qualities that resonate deeply in times of global crisis. Each face in the series is unique in its contours and expressions, serving as a meditation on humanity’s diversity and representing the range of experiences and emotions found across the world. While the faces exude tranquility, the chaotic world outside is ever-present in the layered details and imperfections of the pieces. Zhang offers these meditative faces as a prayer for peace in a fractured world, capturing both the desire for calm and the reality of conflict.
Zhang’s work has evolved significantly over the years. Earlier pieces focused more on humor and lighthearted social observations, while his more recent work reflects the heavier, more sobering themes of today—political division, natural disasters, and the rise of extreme beliefs. In California Artist, Too, Zhang explores these tensions, while still celebrating the values that first drew him to the United States: freedom of speech, political action, and the embrace of diversity. His new body of work embodies this duality—a deep appreciation for the nation’s ideals paired with an honest reflection on its challenges.
At the heart of Zhang’s practice is a celebration of humanity and resilience. His sculpture Mulan #3, the largest clay portrait he has ever created, epitomizes this theme. Inspired by the legendary female warrior Mulan, the piece combines Eastern facial features with Western classical Greek motifs. This fusion reflects both the historical blending of cultures and the universality of female strength. Mulan, a symbol of courage and self-sacrifice, represents the role of women throughout history, and Zhang invites viewers to reflect on their continued impact today. With Mulan #3, Zhang pays homage to the evolving roles of women, highlighting their contributions to both history and contemporary society. The work stands as a tribute to the strength, endurance, and indomitable spirit of women, a recurring theme throughout his work.
