RAGON Michel – Extract from « Zao Wou-Ki » in Cimaise, n° 57, Paris, January - February 1962 (p. 34).
Text translated into Spanish for the catalogue of Zao Wou-Ki exhibition in Cuadernos de arte del Ateneo, Madrid, Spain, 1962
(…) "When looking at the contemporary paintings by Zao Wou-Ki, one thinks of landscapes, indefinite, blurred landscapes, in other words, Chinese landscapes. Not Zao Wou-Ki. In the past, at the time when he was a figurative painter, he used to fill out sketchbooks that served as memos for future paintings. These days, he no longer makes sketches from nature. Probably because the nature shown in his painting is deep inside of him and, involuntarily, when he finds himself in front of the white canvas, he creates the landscape of his dreams.
(…) Everything merges, everything comes together, and everything transforms itself. Had Cezanne not understood the world in the manner of Chinese wise men when he would say that his desire was to "unite women’s curves with the shoulders of the hills". Cezanne who, in the end, always painted apples, in the meaning fruit or the hills of Aix or of the "Baigneuses" (Women bathers). As to Cezanne’s work, everything was conveying to this archetype, this curve, this open circle. According to Zao Wou-Ki, landscape, painting, the world, the cosmos, the sea, the nature, all now merge into a single entity (…)."