LAUDE Jean Extract from Zao Wou-Ki, La Connaissance Editions, Brussels, Belgium, 1974 (pp. 67-69).
(…) "Drips, splatters and discharges: the canvas or paper unevenly absorbs the coloring matter. In addition, the gesture is triggering off a series of events in the process, the movement whose scale and insistence had not been anticipated before it was started. Consequently, it can indeed be considered as random. However, it is true that the speed of conception inventing, at the same moment, its methods of execution, could absolutely not be attributed to the imperious appearance of hazard. Here is a man painting, his conscious mind focused on the act where all his abilities are intensely concentrated. Drips or splatters – when the coloring matter was propelled – will be described on the surface according to their impact and the degree of absorbency of the paper.
(…) Although Zao Wou-Ki’s painting is methodical and its development appears logical, nevertheless, it comprises elements disrupting and subverting the territories already conquered. However, such disruptions and subversions take place following a line of fracture that simultaneously separates his work from Chinese as well as Western tradition and unites both. Although violated, the Chinese tradition is all the more present. However, it is all the more present that Zao Wou-Ki has reconnected himself with it, not in terms of rules or transitory aspects exuded, but rather in the flow crossing the Chinese tradition, obvious in the heydays and underground when academism prevailed (…)."