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Yin Changzhi’s creative practice is mainly based on the material framework, flatness and spatial structure of painting, breaking through the historical conventions and stylized expression of painting, trying to re-explore the boundaries and possibilities of painting in the relationship between materials, confronting painting itself in a step by step way, and re-examining, dissecting and stitching its materialized body, and to "tailor" it. The process of constructing and re-editing is not only immediate in action, but also conscious in viewing. By wrapping cloth over a varied and specific frame in order to preserve the flatness of the painting, the multi-layer cloth with pigment traces attempts to escape the constraints of the classical paradigm of modernist painting in identifying this conventional paradigm. When all the entities are functionalized, the multidimensional spatial level formed also makes the painting have the coexistence of plane and space. The repeated changes between the parts of the painting also formed a more close and separate contradictory relationship. At this point, the properties of the material depend on the viewing logic, and the viewing logic depends on the construction logic. The view no longer rests on a smooth surface, but encircles the structure. As the steps move, the process of seeing is a process of discovery and confirmation. In the end, they are constantly revised in the course of repeated viewing, the boundaries are opened again, the material parts are reassembled to build new bases and structures, and the hybrid tone carried or escaped by the mobile plug-ins in the various versions renders the unfamiliar spatial layers and perceptual textures of the paintings.
Yin Changzhi was born in Dongzhi, Anhui Province in 1984. He graduated from the School of Fine Arts of Anhui Normal University (B.A.) in 2005; and the Department of Oil Painting (M.A.) of the China Academy of Fine Arts in 2009. Currently, he lives and works in Wuhu, Anhui Province.
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