Zao Wou-ki's accomplishments within and outside the realms of painting are indisputable: Just recently, he was honoured with the highest accolade given to an artist by the French government, by being elected to the Acad?ie des arts et lettres in Paris. Whenever someone discusses Chinese or Western art history, it is hard not to come across Zao's name. As a forerunner in Abstract Expressionism, his achievements in the art arena has garnered quite a following in later Chinese artists. Just as how art critic Philippe Dagen, from the French publication Le Monde, described Zao and his paintings - as a vagabond - the journey of this Chinese artist in the Western art scene has been an adventure.

In the spring of 1948, with a heartful of admiration for Paul C?anne and Post-Impressionism, Zao left Shanghai on an ocean liner. He traced along the path of Western art form towards its origin, in a bid to learn and understand European art. During the time when he was in Paris, marvelling at the works of the great masters in the Louvre, Zao stayed at the Montparnasse - a favourite haunt of many literary and arts personnel. There, he became sculptor Giacometti's neighbour.

Zao tried to establish himself in Paris - concurrently learning French and painting at La Grande Chaumi?e. In this artistic Mecca where artists from all over the world convened, Zao had the pleasure of being acquainted with some famous names, including Hans Hartung, Nicolas de Sta?, Pierre Soulages, Vieira da Silva, and Jean-Paule Riopelle. With the help of writer Henri Michaux, Zao managed to progress into the heart of the Parisian art circle.

Zao once said: icasso taught us how to draw a Picasso, C?anne taught me how to appreciate the essence of our Chinese paintings." In other words, when Zao looks at Picasso's paintings, he does not get inspired or enlightened. But looking at C?anne, in particular nont Sainte Victoire Zao claims: he undifferenti ated hues between the mountains and the sky are strikingly similar to that in classical Chinese ink paintings.

He also believed that travelling is one of the best ways to recharge: While ancient Chinese literati seek to fathom philosophies from the mountains and valleys, modern artists naturally too, can turn to museums, diverse cultures, and various places of interest, for inspiration. Once, Zao discovered Paul Klee's paintings in an exhibition in Bern, Switzerland.

Paul Klee's works, very much influenced by Chinese art, struck a chord in Zao's heart. It brought Zao to a whole new level in Western art-a level of poetic significance. For instance, he used symbols and wavering lines to depict feelings of joy. He also got his inspiration from ancient Chinese hieroglyphics and characters, as he immersed himself in the lower rungs of self-fashioning. Subsequently, he abandoned the symbols and images altogether, leaving only an expansive space, not unlike that of magnificent mountains and the endless universe.