Zhang Yi Ning | 2H 2016 | Acrylic on canvas

This self-portrait explores the correlation between external and internal identities. David Hockney’s cubist photography served as a key visual influence for the painting. Through the method of visual collaging, the portrait fragments into multiple sections and layers, representing the multiplicity of personalities we choose to present. The pose resonates with the famous Japanese pictorial maxim “see no evil”; the hands serve as an intentional barrier between the external physical world and the internal psychological world, obstructing the “window to the soul”.