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Zhang Enli paints the ordinary stuff which surrounds us: footballs and porcelain bowls, sparse furniture, electrical wires hanging from ceilings, lace-trimmed lamps, undressed trees in the winter. For his newest project at the ICA in London, entitled ‘Space Painting’, the Shanghai-based artist has painted all surfaces of the gallery’s theatre in a multiple-form watercolour motif – his trademark medium. As with previous works, the initiative sees Zhang Enli exploring a familiar setting whilst revealing the inner essence of an object

– in this case, a well-worn interior. The artist has spoken of his aim to enable viewers to see their surroundings afresh, allowing consideration to be given to that which we might usually miss.

Stark in form, and elusive in atmosphere, Enli’s skill lies in presenting images which allow for memory and imagination, ‘Painting makes you use your eyes, to instigate the mind’. The ICA project is the fifth in a series of large-scale paintings which cover the surfaces of a room.

Allie Biswas: Where did this idea come from?

Zhang Enli: The idea for these works comes from a curiosity about old paintings found on walls. Actually, I suppose it comes from when I first moved house. I saw a mark on the floor, which had been made by furniture which had been sitting there. After all the furniture had been moved out, I saw marks of where things used to be. It signalled the passing of time for me. These works also allow me to explore my interest in the relationship between people and painting.

AB: What is your definition of a ‘Space Painting’?

ZE: There is only one type of painting for me – that is ‘painting’. The only difference here is that I have painted onto

Interview with Zhang Enli The World of InteriorsAllie Biswas

Installation view, ‘Zhang Enli. Landscape’, Museo d’Arte Contemporanea di Villa Croce, Genoa, Italy, 2013

This interview was orginally published in Glass Magazine online on the occasion of Zhang Enli’s Space Painting at the Institute of Contemporary Arts, London, England, on 23 October 2013.

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a wall, rather than a canvas. Using this material makes for a more immersive experience for the viewer – when they enter the space the painting is all around them and underneath them, rather than just one surface in front of them, which is what a painting on a canvas is. Painting on a wall also feels more wild, in a way. A canvas painting is more civilised.

AB: The painting you have undertaken within the ICA’s theatre is based on an abstract motif – how did this develop from your predominantly figurative work?

ZE: I don’t classify painting as abstract or figurative, or object-based. I just paint whatever it is that I feel.

AB: For the past decade you have become known for painting everyday objects. Where did this interest come from?

ZE: I find these types of objects very attractive. They are very normal and can be found everywhere. A lot of them come from my memories and my childhood. But they also relate to my experience in Shanghai – I have been living there for 25 years now, a long time!

AB: Interior settings have also been important in your work.

ZE: I am interested in architectural spaces, and in uncovering uncertain histories – by taking away certainty from a space.

AB: How would you describe the Moganshan Road art district in Shanghai, where your studio is based?

ZE: This area used to be full of old textile factories, then about 10 or 11 years ago the government decided to regenerate it into an art district. Now there are lots of artist studios and galleries based there. The most interesting part for me is that it is in the city. I feel the details of the city everyday.

AB: What is the most significant change you have observed in China over the last couple of decades?

ZE: Communication. The level of communication with the rest of the world has completely changed. Communication is very important, so we can understand each other more.

AB: What do you think your paintings represent within the context of contemporary Chinese art?

ZE: The way to understand painting is through memory and feeling. The most important thing is to feel life. It is not about culture itself, or explicit symbols.

AB: Which artists have impacted on your work so far?

ZE: I like traditional artists, rather than contemporary artists. Francis Bacon, Turner, Manet, Courbet. The most important thing is to use your eyes. It’s not about thinking about the work. Using your eyes is the most important concept for me.

Installation view, ‘Zhang Enli. Landscape’, Museo d’Arte Contemporanea di Villa Croce, Genoa, Italy, 2013

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Installation view, ‘Zhang Enli. Landscape’, Museo d’Arte Contemporanea di Villa Croce, Genoa, Italy, 2013