In 1957 and 1958, Zao Wou-Ki and his close friends,Pierre Soulages and his wife, traveled to the United States. They were warmly welcomed by New York's vibrant contemporary art scene, engaging with the avant-garde movement that was reshaping art history. It was during this time that Zao was signed by the prestigious Kootz Gallery, the key role in the post- war rise of Abstract Expressionism, which held regular exhibitions of his work in the U.S. Zao Wou-Ki's art radiated tremendous energy, and from 1959 to 1972, he entered the peak of his career, a period often referred to as his 'Hurricane' periode. The 'Hurricane' period was like the dawn of a new era, symbolizing Zao Wou-Ki's bold journey between innovation and tradition. His numerous, grand masterpieces emerged from his unwavering lifelong commitment to reimagining the art of painting. In his early years, the artist intentionally avoided relying on his profound calligraphic skills to prevent his work from becoming overly crafted. By this time, he had simplified his approach, shedding traditional elements in favor of a more essential from that refined the interconnectedness of all things within the cosmos. In his early years, the artist intentionally avoided relying on his profound calligraphic skills to prevent his work from becoming overly crafted. By this time, he had simplified his approach, shedding

traditional elements in favor of a more essential fromthat refined the interconnectedness of all things within the cosmos. The creator's ecstasy, anger, tranquility, and sense of non-action are openly expressed through the intertwining of abstract space and color. The extraordinary momentum that resonates in the paintings stems from the creator's early dedication

to mastering Western painting techniques and the profound influence of Eastern cultural heritage. These two elements intertwine and ultimately blossom into remarkable outcomes. "My studio is a concealed box, as I intended it to be. The light comes only from the north, somewhat gray and always stable, allowing me to grasp the density of every color without the distortion of sunlight interfering with the subtle variations." Excerpt from Zao Wou-Ki's Autoportrait Chapter 7 "My studio is a concealed box, as I intended it to be.The light comes only from the north, somewhat gray and always stable, allowing me to grasp the density of every color without the distortion of sunlight interfering with the subtle variations."- Zao Wou Ki The artwork "18.10.68," completed in 1968, This work resembles the composition of a Tai Chi diagram, effortlessly balancing heaviness and lightness while embodying the interplay of emptiness and fullness. The bold, defined black ink lines twist and turn in the foreground, creating a sense of movement. In the background, a distant view evokes snow-capped mountains with white clouds floating along the ridges. Layers of yellow paint, rugged and steep, suggest the essence of nature, enhanced by icy blue brushstrokes that intricately interweave. Zao Wou-Ki's long-term engagement with Western aesthetic thought allowed him to skillfully incorporate the unique sense of light characteristic of the West into his creations. The painting showcases a solemn

radiance and a fantastical, mysterious play of vibrant colors in its spatial composition.The artist employs a unique and insightful brushwork to translate the vitality of life, the essence of wind, movement, and the unfolding and integration of from. Power and

balance transfrom instantaneously between emptiness and fullness, as the painting, rooted in sensation, engages in a dialogue with space. In Zao Wou-Ki's French autobiography, the first sentence mentions his father: "My father passed awaythe cosmos. The creator's ecstasy, anger, tranquility, and sense of non-action are openly expressed

through the intertwining of abstract space and color. The extraordinary momentum that resonates in the paintings stems from the creator's early dedication to mastering Western painting techniques and the profound influence of Eastern cultural heritage. These two elements intertwine and ultimately blossom into remarkable outcomes. "My studio is a concealed box, as I intended it to be. The light comes only from the north, somewhat gray and always stable, allowing me to grasp the density of every color without the distortion of sunlight interfering with the subtle variations." Excerpt from Zao Wou-Ki's Autoportrait Chapter 7

"My studio is a concealed box, as I intended it to be. The light comes only from the north, somewhat gray and always stable, allowing me to grasp the density

of every color without the distortion of sunlight

interfering with the subtle variations."- Zao Wou Ki

The artwork "18.10.68," completed in 1968, This

work resembles the composition of a Tai Chi diagram,

effortlessly balancing heaviness and lightness while

embodying the interplay of emptiness and fullness.

The bold, defined black ink lines twist and turn in

the foreground, creating a sense of movement. In

the background, a distant view evokes snow-capped

mountains with white clouds floating along the ridges.

Layers of yellow paint, rugged and steep, suggest the

essence of nature, enhanced by icy blue brushstrokes

that intricately interweave.

Zao Wou-Ki's long-term engagement with Western

aesthetic thought allowed him to skillfully incorporate

the unique sense of light characteristic of the West

into his creations. The painting showcases a solemn

radiance and a fantastical, mysterious play of vibrant

colors in its spatial composition.The artist employs

a unique and insightful brushwork to translate the

vitality of life, the essence of wind, movement, and

the unfolding and integration of from. Power and

balance transfrom instantaneously between emptiness

and fullness, as the painting, rooted in sensation,

engages in a dialogue with space.

In Zao Wou-Ki's French autobiography, the first

sentence mentions his father: "My father passed away



in 1968, during the Cultural Revolution." By 1968,

Zao Wou-Ki had already gained fame abroad for

many years, yet he struggled to return home to visit

his parents due to the significant historical changes

in China after 1949. On the other hand, the artist, in

the prime of his life, experienced both deep emotions

and disappointments, as his beautiful wife, Michèle,

suffered from illness. He transfromed his worries and

melancholy into inner strength, expressing himself

through creation, allowing his thoughts to race

along the competitive strokes of his brush. As time

flies by, it leaves behind enduring emotions and a

spirited resolve, resulting in a series of captivating

masterpieces.