Seen from a distance, this work looks like a traditional Chinese landscape painting, made with brush and ink. Only when you get close can you see that it was done entirely in pencil, with layers of hatch marks standing in for the washes and modulated lines of the supple Chinese brush. This kind of playful inversion is at the heart of Shao’s artistic practice, though it most often finds form in his furniture designs—the chair behind you is an example—which appropriate classical forms and materials to create whimsical new ideas.
Inscription: Artist’s inscription and signature (1 line in standard and semi-cursive scripts)
New York. The Metropolitan Museum of Art. "Ink Art: Past as Present in Contemporary China," December 9, 2013–April 6, 2014.