10 Questions with Zihan Zhou

Zihan (Jenny) Zhou is an artist who creates visual art and explores a variety of media while also writing, educating, and working in the media. Zhou grew up studying art and regarded it as a way to understand the world and herself. Studying art history, fine art and photography at university, Zhou draws deeply from historical iconography, searching for their connection to contemporary contexts. Shifting from traditional painting to a more varied selection of media, from collaged images to installations and performances, Zhou’s art strives to produce a more open resonance.

Zhou holds a Bachelor of Fine Arts degree from Renmin University of China and a Master of Arts degree from the Royal College of Art.

@zihanzhouhhh

ARTIST STATEMENT

Art is a bridge between the spiritual and material worlds, between the inner and outer realms. It serves as a ritual of transformation, connecting beings across different dimensions. This connection forms the core of Zihan (Jenny) Zhou’s artistic practice.

C.G. Jung’s psychology has had a great influence on her art, showing archetypes that transcend time and space. Her works seek the connection between traditional themes and contemporary contexts. The body plays a central role in her work as a vessel that unites matter and spirit, a universal language shared by all human beings, evoking a sense of harmony and connectedness. Ultimately, Zhou’s art invites viewers to embark on their own journey to discover the world and self, encouraging reflection on the invisible connections that bind us all.

INTERVIEW

First of all, introduce yourself to our readers. Who are you, and how did you develop into the artist you are today?

I am Zihan (Jenny) Zhou, an art creator, educator, and photographer. Art is not just a profession for me—it is a lens through which I understand both myself and the world. I realised early on that art is something I cannot live without. It has shaped my views, even on topics like gender and sexuality. I always want to share these with the world, through which the creation and reception of art form a cycle, producing a magical transformation. So, being an artist is no doubt a significant part of me.
Like many, I began to draw from a young age, started my professional training in secondary school and then studied art at university. Althoughthis is not a necessary process of creating art and gaining creativity, I learnt a lot from it. In particular, I had come to understand that art is not just about beauty; its scope is limitless, crossing disciplines and forms. Most importantly, it encourages uniqueness, which has driven my desire to create and explore throughout my career.

Your work bridges the spiritual and material worlds. Can you describe the moment or experience that first inspired you to explore this connection through art?

The material and spiritual worlds are deeply interconnected, constantly transitioning between each other. Creating art is such a process.
The first moment that sparked my exploration of this connection was when I began questioning: What is reality? Many iconic images in art history are clearly not realistic, yet people perceive them as representations of the real. For example, in ancient Chinese Shan Shui, the artists used dots and brushstrokes to make ink paintings that never existed in nature, but when one sees the landscape, one realises that it is as it is painted in Shan Shui. Accordingly, I discovered that for art, humans share an imagination that transcends the material world, and I found the answer to the question of ‘reality’ exists in the human ideal.
I focus more on the extension behind it in my work. When my model assumes a role, it seems to transform into a figure everyone recognises. When I pair text with an image, the meanings extend far beyond the literal. Time and again, I received feedback from viewers that aligned with insights I had not even consciously pursued. It was these moments that affirmed for me that art is truly a bridge between different worlds.

How has your background in both Chinese and Western education systems shaped your artistic approach, especially regarding your studies in art history and fine art?

My experiences with both Chinese and Western education have shaped a unique fusion within my artistic approach, though these influences remain distinct and sometimes subtly conflicting.
Learning art history, I always find connections between the two subjects. For instance, the ideal city of Jerusalem mirrors the nine-gated design of the ancient Chinese Zhou city; both medieval European manuscripts and pre-Qin Chinese texts depict fantastic creatures. Parallels like these made me aware of the language that transcends specific cultures and areas, which tremendously impacted my art.
In my creative journey, I have always been committed to finding an artistic language that unites all human beings as a whole, or to say, as individuals resonating on the same rhythm. The body is such a language, as is music and symbols. By utilising these, there is no need to explain the context or connotation of the work to the audience, and they can naturally understand what they want.

Let’s talk about your art. You work with different media and techniques. What motivates your use of differentmedia, and how do you decide which medium best serves each piece?

I have explored a wide range of media, from graphic images to video, installations, sculpture, crafts, and even performances—and I am sure more will follow. I am not in a hurry to find the ‘perfect style’ or to build a personal brand.This open approach is a double-edged sword, both liberating and challenging. My choice of medium may seem eclectic or even a bit, but it also means endless possibilities.
My creative process often begins with a flat image, as I am most familiar with this form. Many experimental works stop at this step. However, I constantly ask myself, ‘What medium can best convey my ideas?’ and challenge my initial approach. For example, when I was working on the Beauty Diagram series, I started by noticing parallels between the human body and landscapes, so I first created a collage, then I wanted to show it physically and print it out on rice paper, ‘Is this just a superficial reproduction?’, and then I went on to make a light box like an advert to suggest the world of consumption, ‘Rice paper seems to carry a traditionally masculine connotation’, finally I put the fabric of stockings on it. Now that it looks complete, I thought it was ready to be shown. Even so, it is still not the best, and I still think it could be pursued further; perhaps I will pass the fabric into a real female body. That is part of the thrill—the work is always evolving. 

Jung’s psychology, particularly the concept of archetypes, plays an important role in your practice. How do you incorporate Jungian ideas into your work, and how do they help you communicate with your audience?

C.G. Jung said that archetypes are the projection of the collective unconscious, existing in literature, art, religions, and dreams. Even though they are veiled, they can cause an inevitable touching of the mind in the audience. This idea aligns with my goal of exploring a universal artistic language. In my work, I often draw upon these archetypes, particularlythrough their religious and mythological forms, such as the Great Flood and Mother Earth. This may remind the audience of the legends of their civilisation, leading to an understanding that is both multiple and universal.
Additionally, Jung showed my spirit a path. I learnt that it was okay to live in an age of irreligious science, to feel lost and to search for an alternative kind of salvation. During the pandemic, I experienced a strong sense of the collapse of the world that I had believed in, and I struggled to find a new sense of reality. Over time, I stopped placing my trust in external structures and began to trust my own inner feelings. This tendency is strongly reflected in my work Human Dance, where I see the computer code that represents certainty (written around the graphic) as chaos instead, while the blurred dance images point the way to clarity.

Historical iconography and traditional themes appear frequently in your works. How do you select these references, and in what ways do you feel they resonate with contemporary contexts?

Art originates from imitation. Painters continually reference the works of their predecessors—whether by learning from them, borrowing elements, or even parodying them. Each era, in a sense, is its own ‘Renaissance,’ as time changes, but the deepest aspects of humanity remain consistent and deeply rooted. The present unquestionably provides the richest source for imitation. All previous history and the images that have appeared are part of the contemporary. Therefore, I believe people all have something to think about when facing those works or elements.
I find these traditional images and their cultural connotations endlessly compelling, though I critically engage with their meanings. In previous years, I liked to directly appropriate classic traditional images, I found the shared themes between contemporary society and it and allowed their rich traditional connotations to clash with modern forms. This approach was inspired by photographers like Wang Qingsong, Yao Lu, and Yang Yongliang. However, I eventually began to feel the limitations of this method. In the last year or two, my focus has shifted toward another kind of investigation of historical imagery, and I am particularly interested in manuscripts and the art of alchemy. Instead of directly appropriating a single iconic image, I aim to create new images and narratives based on extensive observation. In other words, instead of naming the portrait of a beautiful woman ‘Venus’, I now prefer to call her ‘no one’.

Your art often encourages reflection on invisible connections that bind us all. How do you balance the personal and universal in your work, ensuring that it speaks to both individual experiences and shared human emotions?

Thanks for the question that made me reflect more deeply on something I had not fully considered before. The balance between the personal and the universal is indeed complex, and I am not certain I have perfected it yet. My work is informed by personal experiences and emotions, and I like to reflect inwardly. However, I also tend to conceal personal narratives behind observations of broader, universal phenomena. 
This is not a deliberate choice but rather an instinctive one. This, on the one hand, suppressed my self-expression, but on the other hand, I made a broader expression. Similarly, as a feminist, I often reflect on the fact that I have not engaged in explicit, tangible contributions of expression. Yet, my belief in feminism is rooted in embracing diversity and dissolving boundaries, and I am exactly doing this. I aim to create spaces where these discussions can emerge organically. In that sense, my art expresses both personal truths and universal connections.

As an artist who also writes and educates, how do these roles influence and inform your visual art practice? Do you see them as separate disciplines or as part of a holistic approach to your creative expression?

These endeavours have truly been an interacting whole, and fortunately, they have positively impacted my creativity and growth. There is an unavoidable reason that these jobs provide an ongoing income, but it is not the main focus I would like to discuss here. Each role moves me to adopt different approaches and attitudes as if I am tapping into distinct aspects of myself. All these activities serve to strengthen the connection between me and the world around me.
Firstly, I had the opportunity to understand how art is perceived by different people and the context in which it is accepted. I also gained new materials from the outside world. Especially being a teacher, through engaging with students, I gain fresh perspectives and inspiration. It is a continuous process of learning, where I am as much a student as a teacher. In addition, the different roles have refined my personality and identity as an artist. The output of words carries more clearinstructions and potential violence than images, at least for me. Whether I am expressing myself through writing articles or giving classes, I see them as a way of defusing potential aggression gently and thoughtfully. Encouraging, gentle language flows within an established framework and is met with positive feedback, creating a healthy exchange. I can get some sort of catharsis and another recognition of my worth. Though this aspect does not directly help my art, my dedication to creating cannot be separated from my simultaneous dedication to the outside world.

Looking ahead, is there any new medium, technology, or theme you would like to explore with your work?

First and foremost, I will definitely keep taking photos, as it has become a natural extension of my life, and incorporate ways to find interesting ways to display them, like making some prints, telling some stories with pictures, and writing poems with them. Recently, I have been drawn to photographing large trees, which evoke the Tree of Knowledge, a symbol often found in occult traditions. I think this could be an intriguing subject for further exploration.
Also, I have been wanting to explore virtual technology and its ethical issues stemming from the online activities that took place during the pandemic. Our troupe put on a dance performance, and many of the dancers were forced to stay at home due to the pandemic, watching a video of the empty theatre piece they were supposed to be performing. I have been thinking of using virtual technology to show a performance that has never been staged.
After giving my first dance performance last year, I am eager to continue with performance art. A new setting or a different piece of choreography excites me. I have a very good friend, Wei, who has kicked off her journey as a dance professional this year. She is a very idealistic person, and I think dance is too, even though it is actually quite exhausting.She once said that dance is when you start moving, and all the sensations come. This touched me, and it was as if something inside me began to grow again. I cannot help thinking, what if I could bring the audience to move in my work?

And lastly, where do you see yourself and your work five years from now?

It has been exactly five years since I first considered the path of being an artist, and I believe the next five years will be even richer in creativity and growth. 
The creation itself is the core. The act of creation will always be at the heart of my practice. As a young artist still in the early stages of my career, I will continue to experiment, reflect, and develop my artistic voice. At the same time, I will work on positions in the art industry, and I will remain as open to this as I am to creating. What I can see is my great interest in learning, researching, writing, and teaching, and I will continue to pursue my passion for art in these endeavours. I am particularly interested in further researching women’s art, occult themes and spiritual art.
In the coming five years and beyond, I hope my art journey will make me a better individual, both as an artist and as a human being. And possibly, contribute to the wider world.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.