10 Questions with Mosaz (Zijun Zhao)
Al-Tiba9 Art Magazine ISSUE18 | Featured Artist
Mosaz (Zijun Zhao) is an artist whose work has been exhibited internationally, including at the National Museum of Science and Technology in Milan, Palazzo Bembo in Venice, CICA Museum in South Korea, and Fukuoka Asian Art Museum in Japan. Recognized with awards such as the International Prize Leonardo da Vinci and Premio Firenze XLI Edizione, her work has also been featured in Art Maze Mag, BOOOOOOOM, The Woven Tale Press, and AI-Tiba9 Art Magazine, among others.
Mosaz (Zijun Zhao) - Portrait
ARTIST STATEMENT
Mosaz's work is based on her understanding of traditional culture as an Asian individual—an understanding shaped by what she has heard, seen, and deeply felt since childhood. She focuses on symbols, imagery, and rituals embedded in cultural memory, reconstructing them through a personal lens. In her work, she seeks to present the collision, integration, and reconciliation between tradition and her personal spiritual world. This conflict is sometimes subtle and sometimes intense, shaping her artistic language. Her compositions are formed by intricate lines and details that ultimately converge into a complete shape. These lines resemble the thoughts in her mind, entwined within a tangible medium. They symbolize the flow of memory, emotion, and consciousness, much like the trajectory of thoughts as they navigate between reality and imagination. This is how she expresses the complexity of her inner spiritual world.
A Joy Funeral, ink, color pencil and pastel on paper, 36x25 cm, 2021 © Mosaz (Zijun Zhao)
AL-TIBA9 ART MAGAZINE ISSUE18
INTERVIEW
Welcome back to Al-Tiba9. It's been two years since our last conversation, what have you been up to since then?
Thank you! It's great to be back with Al-Tiba9. Since our last conversation, I have found a stable job in the arts after graduating, which has given me the opportunity to spend a lot of time reading. However, I've also noticed that excessive thinking has led me to draw less and less over time.
Over the years, you have exhibited internationally, from Italy to Japan and South Korea. How have these different cultural contexts influenced your perception of your own work and its reception by diverse audiences?
Exhibiting internationally has given me a broader perspective on how my work is perceived. Each cultural context brings a unique way of interpreting art, which has made me more aware of the nuances in my own work. In Italy, for example, I found that audiences appreciated the classical elements and craftsmanship, while in Japan and South Korea, there was a stronger emphasis on conceptual depth and contemporary aesthetics. Seeing these different reactions has helped me understand that art is not just about personal expression but also about communication—how meaning shifts depending on the cultural lens through which it is viewed.
Placenta God, ink, watercolor on pater, 2023 © Mosaz (Zijun Zhao)
Your work has also been recognized with prestigious awards such as the International Prize "Leonardo da Vinci" and "Premio Firenze." How do you see these accolades shaping your career? Have they influenced your artistic approach or opened new opportunities?
Receiving these prestigious awards has been both an honour and a motivation. They have helped validate my work on an international level and introduced me to new audiences and networks within the art world.
Speaking of your work, memory plays a key role in your practice, not just in personal recollections but also in collective cultural memory. How do you decide which elements of tradition to engage with, and do you ever find yourself reinterpreting past works as your perspective evolves?
I tend to choose elements that resonate with my personal experiences or that hold symbolic weight in a broader cultural context. As my perspective evolves, I do find myself revisiting past works, not to repeat them, but to reinterpret them through a new lens. What once felt nostalgic might now seem critical, or what once appeared fixed may reveal new layers of meaning.
You often depict the tension between tradition and personal spirituality. Have there been moments in your practice where these two forces felt irreconcilable? How did you approach this conflict in your art?
In my art, I approach this conflict by allowing both elements to coexist rather than forcing them into harmony. I embrace contradiction—layering symbols, distorting familiar imagery, or juxtaposing historical references with abstract or personal elements.
Erysichthon, pencil on paper, 18x25 cm, 2022 © Mosaz (Zijun Zhao)
Nature, pencil on paper, 17x25 cm, 2022 © Mosaz (Zijun Zhao)
Your work also reconstructs cultural symbols and rituals through a personal lens. How do you balance cultural tradition and personal reinterpretation in your practice?
Balancing cultural tradition and personal reinterpretation is an ongoing process in my practice. I see tradition not as a constraint but as a foundation—one that provides structure, symbolism, and deep emotional resonance.
For example, in my solo exhibition "Peephole" at Capital Culture House in Madrid (2022), I integrated ritual elements from Chinese folk culture—such as paper charms and temple offerings—into surreal and psychologically intimate compositions. These reinterpretations reflect my own identity and the fluidity between sacred imagery and internal narratives.
The recognition of my work by international institutions, including the International Prize "Leonardo da Vinci" (2023)and Premio Firenze (2024), encourages me to continue exploring this dialogue between inherited symbols and personal mythology. I approach culture not as something to replicate but something to reshape—through emotion, memory, and intuition.
Are there any symbols or motifs you find yourself returning to repeatedly? If so, why do they hold such significance in your work?
Yes, there are certain symbols and motifs I find myself returning to repeatedly. This element continues to appear because it resonates with my personal experiences and serves as a bridge between personal and collective memory. For example, in the "Reproduction of Light" exhibition at the Fukuoka Asian Art Museum (2023), I used vibrant, high-saturation colours to evoke a sense of inner disorientation. The recurring presence of peonies and intertwined hair around female figures became emotional anchors for me—they are at once familiar and open to reinterpretation, rooted in traditional symbolism but reshaped through personal narrative.
Looking beyond your current projects, is there an artistic challenge or new medium you're eager to explore in the future?
Yes, I'm always looking for new challenges to push my artistic boundaries. Recently, I've been interested in printmaking because it offers a different way to express my ideas. Unlike my usual practice, this medium allows me to explore
Longevity, ink, color pencil and pastel on paper, 20x24 cm, 2024 © Mosaz (Zijun Zhao)
In recent years, you have presented your work both online and offline. How important are digital platforms and media exposure for contemporary artists today? Do you actively engage with online art communities?
I do engage with online art communities, though I try to find a balance between visibility and authenticity. Digital platforms and media exposure have become essential for contemporary artists. They not only help us reach a wider, global audience, but also allow for more immediate and diverse ways to share ideas, process, and work-in-progress.
Lastly, what are you working on now? Do you have any new projects or series you are currently developing?
I'm learning how to do printmaking. It's a completely new direction for me, and I'm excited about the possibilities it opens up. I'm focusing on mastering the techniques and exploring how I can incorporate it into my existing projects or even develop a new series around it.
