Xizhong He

born 1975 in Guangshui, Hubei, China


1999-2002 MFA in Oil Painting, Hubei Institute of Fine Arts

Work Experience

2002-present Associate Professor, Beijing Institute of Graphic Communication

Member of Society of Advanced Art Education, ECPA

Member of Beijing Artists Association

Artist Statement

I pay attention to the current social life and psychological state of people, explore the image art language as much as possible to touch the human thought dimension, and promote the expression and exchange of ideas.

The direction of visual communication design is an interdisciplinary system, and artistic aesthetics and cultivation are the further improvement and promotion of visual system knowledge. The promotion of art accomplishment is the result of extensive contact with existing design thinking and continuous accumulation of self practice. It is an effective way to improve professional knowledge to study the conversion thinking, conditions and methods between reality and art design, cultivate the ability of self discovery and perception, and improve the skills of practical operation.


Sketching, colour theory, composition, graphic design, and illustration

Research Direction

The expression of artistic language and creative thinking

Solo Exhibition


Personal Microscopic View, A Solo Show of Oil Paintings by He Xizhong, Beihang Art Gallery

Group Exhibitions


Lucid Water and Lush Mountains, Exhibition of Landscape Sketches by Beijing Famous Oil Painters, Beijing

The Praise of The Harvest, Invitational Exhibition of National Famous Artists, Beijing


Rabbit Hole, Yuanuniverse Art Festival, Cloud Activity APP


The Second Five-School Joint Exhibition of “Spring and Autumn”, Beijing

Participated in the “Second National Excellent Art Works Exhibition of Teaching Practice of College Teachers” hosted by the Higher Art Education Branch of the (National) Education Calligraphy and Painting Association in Guizhou


Vocabulary International Design Exhibition, Gallery IANG, Seoul, South Korea

The 7th Art Fair of Jinan, Jinan International Exhibition Center, Shandong Province


Education review exhibition of Beijing Institute of Graphic Communication, Beijing Institute of Graphic Communication


Painting Confluence, Wuhan


Nian Shi Hui, Wuhan


Imagery in Poetry Chinese Landscape Oil Paintings Exhibition, Shandong

Beijing Images-Magnificent Fengtai, Beijing

‘Intergration/Condtruction’ 2014 The Fifth Contemporary Art Invitation Exhibition of Beihang Art Gallery


The 12th session of new Artists and Works exhibition in Beijing, Beijing

Collection of works

2019 ‘Fragments of Poetry 1’ Collected by Gallery IANG, Seoul, South Korea



What Draws He, published by Printing Industry Press


Keywords in Printing Preprocessing and Image Creative Design, published by Beijing Art & Science Electronics Press


1975 年生于中国湖北省广水市


1999 -2002年 学习于湖北美术学院 // 油画专业

2002 年 毕业于湖北美术学院 // 油画硕士

2012 -2013年 清华大学美术学院


2002 年至今 任教于北京印刷学院 // 副教授






主讲课程: 素描、色彩、构成、图形设计、插图

研究方向: 物像的艺术语言表现可能性研究、设计思维与方法研究







“绿水青山”北京油画名家风景写生作品展// 北京

“丰收的礼赞”全国名家美术作品邀请展// 北京




“春华秋实”第二届五校联展 // 北京

(全国)教育书画协会高等美术教育分会在贵州主办的“第二届全国高校教师教学实践优秀美术作品展” //  贵州


字汇国际设计联展 // 韩国首尔IANG 美术馆

第七届济南艺术博览会 // 山东济南国际展览中心


北印教育回顾展 // 北京印刷学院美术馆


绘合”A3艺术计划第四回 // 湖北美术学院美术馆


廿十绘”A3艺术计划第三回 // 湖北美术学院美术馆


北京意象·丰台华彩绘画作品展 // 中国美术馆

可见之诗中国油画风景作品展 // 山东潍坊国际会展中心

融合·建构”2014 第五届北航艺术馆当代艺术邀请展 // 北京


北京第十二届新人新作展 // 劳动人民文化宫




2011年 《何形何色》印刷工业出版社出版

2023年 《印前关键词与图像创意设计》北京艺科电子出版社



Artist Statement

I pay attention to the current social life and psychological state of people, and explore the language of art imagery as much as possible, to affect the dimension of human though, and to promote the expression and exchange of ideas.
The direction of visual communication design is an interdisciplinary system, and artistic aesthetics and cultivation are a further improvement and promotion of visual system knowledge.  The promotion of art accomplishment is the result of extensive contact with existing design thinking and continuous accumulation of self practice. It is an effective way to improve professional knowledge, to study the conversion thinking, conditions and methods between reality and art design, to cultivate the ability of self discovery and perception, and to improve the skills of practical operation.




The Self-Sufficiency That Blooms in The Dirt

Xizhong’s oil painting style is free and stretched, and his brushstrokes reveal his talent. Among them, his peach blossom paintings are particularly unique.

Xizhong is constantly depicting peach blossoms. Peach blossoms are very characteristic of Chinese culture. There was a Peach Blossom Garden in the Jin Dynasty, a Peach Blossom Fan in the Ming Dynasty, and a Taohuawu (Peach Blossom Dock) in Suzhou, China. Peach pink and pink green are often paired together, which is not only very Chinese but also very folk. Peach blossoms appear on the costumes of opera actors; on the decorations on the kang (heated brick bed) in the north; on the flower and bird paintings on oilcloth umbrellas and boxes; on the plastic covers of diaries; and on the footage of news documentaries.

In other words, these are the visual experiences of people who lived in the 1970s and 1980s. Xizhong grew up in that era, and naturally carried the information of the times and his homeland. The surrounding objects cultivated his visual experience and influenced him subconsciously. There is a kind of paper fibre texture in his paintings, which makes the objects in the paintings a bit blurred, a bit like myopia or double vision, and like the movie stills pasted in rural rooms in the past. At that time, no one had a few “Liu Sanjie” And “Ashima” movie comic book prints, as well as star calendars such as “Little Tigers” and “Jimmy Lin”. The printing quality was not so good, coupled with the long-term fading, the effect of virtual edges or ghosting, subtly exists in people’s minds, and maybe the memory of this image will wander out on its own in the future. In Xizhong’s 2022 oil painting Forms Translating into Peach Blossoms, all visual memories and experiences are harmoniously combined unconsciously: the red colour of peach blossom rushes out of the edge of the flower, sprays and dyes the sky and branches in the sky. This scene is very similar to the peach blossoms in full bloom on the North China Plain. Under the loess-toned sky unique to the dusty weather, it is both pink and willow green, and the sky is dark. In his 2014 painting Autumn Flowers Will Be Gone, you can feel the dry texture like the land. The image seems to be printed on a piece of leather or horse dung paper. The painting is full of grass stalks, debris, and fibers. Unfortunately, the texture of earthen paper can only be found in the countryside, so Xizhong’s paintings are very folk. At the same time, the peach blossoms in the painting are rich and colourful, blooming naturally and freely, just like the girls in the mountains, growing their own charm on their land.

When it comes to being natural, Xizhong is lucky. During his professional education in painting, his teachers did not suppress or transform his natural aesthetics, and inspired and protected his original aesthetic experience. In his works, he can naturally reveal the habit and state formed over the years. This is called “self-sufficiency” in Buddhism. The original self is born with perfection. This perfection is a state and a kind of self-suggestion, this kind of art education brings people’s liberation rather than confinement, so Xizhong is lucky to have such an educational experience. After leaving the school, he continues choosing the theme of his works independently and adjusting them. The state of practice seems to be unrestrained, but in fact, each stage has its own goals, and it is constantly approaching the realm he pursues.

I like the peach blossoms by Xizhong, which I call them “the self-contained blooming in the soil.

Yousong Li (李尤松)
April 3, 2023









The pattern and parable of life —— Enlightened by recent oil paintings of He Xizhong

By Shao Jun

Translated by Shao Chang and Liu Yang

According to the book, “Feeling and Form” written by Susanne K. Langer, we learn that despite various kinds of styles and formats of art, the artists’ own specific life experience, the inspirations and the hesitancies towards life and universe, as well as the home of their artistic souls are highly likely to have an effect on their creations. He Xizhong is such an estimable artist who has the mastery of combining his talent, understanding of life, and form of arts with his artistic form and concept, capable of both merging the elements of his life form and activities with a popularity which is vague but in vogue and focuses more on our society and perceptions.

These groups of He Xizhong’s paintings indicate his unique value in art clearly, which can be reflected mainly in the following two aspects:

On one hand, the form of his painting, the symbols he uses and the style of his language show others his unique personality. As we know, since the emergence of modernist art, patterns and symbols have been adapted to be utilized in modern oil paintings by artists. Especially for the contemporaries, it is a common habit that patterns and symbols are supposed to be involved in art creation. Undeniably, patterns and symbols themselves convey a strong sense of culture, which may bring into the creations particular “social information”, and then add “value” and “significance” to the art. Nevertheless, we are also expected to understand that it is only the innate characteristics of art that expresses the artist’s thoughts, emotions and their creativities embodied by their creation’s patterns and symbols that can disseminate human feelings to the public. What can be found delightedly from He Xizhong’s paintings is that he makes such efforts in most of his paintings like Loneliness blue, Self-depiction and Vague outlook Loneliness blue and Self-depiction absorb strategies and methods of drawing from Cubism in order to explain the figures and symbols, and then rebuild them by explanation. This way of constructing figures seems related to early Cubism, whereas we can see some notable differences. The symbols look obvious but also obscure. A few specific figures and symbols are concealed ingeniously by the artist, in order to provide us with his original understanding. He Xizhong’s, superb drawing skills and the achievement in his new exploration of settling art expressions and art symbols are usually revealed unintentionally in his works, for instance, by variable nude body symbols in Loneliness Blue, modern technological touch in Able Man and the composition of cosmos realization and Zen in Passing by Loneliness. We are living in a community which necessitates not only discussion of many problems about life, like bodies, technologies and the information era, but some abstract questions as well, like the meaning of life, loyalty, faith and other abstruse philosophical thinking. Everyone is affected by this situation with no exception for artists. But there is no doubt that the airs of tranquility with which artists represent their lives and their speculation is consummate with pure art. Hence forth, their works have cultural significance and artistic value in the contemporary age.

He Xizhong has the ability to make the visual pattern. Paintings like Slightly intoxicated, which has the variant and the process of plane enclosed by lines that constantly used by He Xizhong reminds people of Francis Bacon, whose masterpieces are once reviewed with the concept “tactile vision”and “pure image”. Anyhow, it is evident that He Xizhong’s exploration of pure impression about using patterns and symbols in drawing will exert a profound and lasting influence on his own way of oil painting. Also, the color of He Xizhong’s paintings is also a distinction besides lines. It can bee seen from his paintings that the flat color technique, whose purity occupies a large portion, is not scarce in He Xizhong’s work. In addition, this drawing technique can usually be found similarly in Chinese traditional folk drawings although the two styles of drawing have very different effects and meanings from each other. The change in visual intensity of the color itself and strength of tension reflected by the flat color procedure indicates a unique glamour of color using — color becomes the frame and main structure. Directions of flat color, conflictions of colors, and the fusion and the deviation of lines come together to form the artistic expressive power of color in He Xizhong’s paintings. Here, we could understand the three vital elements of life’s pattern in He Xizhong’s oil paintings. Symbols, lines and colors, these three factors are created by the artist originally but all have conspicuous characteristics of their own.

On the other hand, the spiritual power shown in He Xizhong’s paintings is also from his descriptions of life’s parable. There can be two major types of this batch of paintings in accordance with what the subject is: one is about humans, the other is about animals and plants (and few still objects). Not only did these paintings make some creations on pattern, but also a cryptic spiritual power. For example, the environment of deluge that people are struggling to survive in Passing by loneliness. This kind of feeling that the environment is terrible but it is always not enough to overshadow the courageous and the everlasting hope of surviving is the common aim of many artists. Furthermore, the paintings about animals and plants, especially the set of Falling into this world, give emblematic descriptions to us all and think aloud that which is a speech about not only universe, the society and life, but self-awareness and attitude towards culture and value as well. This kind of expression is full of symbolism and tortuousness, and very similar to parables
He Xizhong depicts himself as a spirit falling into this world and loving legends. These could somehow convey his thoughts and ambitions. Imagination is an artist’s illness; but without it, a man may never become a real artist. Some people may convert the imaginary world into the cruel behaviors in reality, while some others are still intoxicated in the art world of their own dream. We are always trying to figure out who we are and where our spiritual homeland is, perhaps that’s why they need to pick up their pens to trace the lost “me” and all the stories about “me”.

Artists use an introspective way to state their spiritual land instead of romantic colors or bizarre ideas, trying to build up some symbolic parables. Horses, dogs or other animals; trees, grass or flowers, probably all of these images in the pictures have some symbolic meanings; however, provided you regard the art works as symbolic as poems, you will realize it is obviously too simple; or maybe they can be treated as parables? No, they can’t. Parables are specially designed for symbolism but symbolism only exists in paintings as implications: the arrogant gallant horse is wandering in the mysterious space of chaos, the alluring fox is glancing back attractively with a smile, the tiger king is escaping fearfully seeing his ruined home and the monkey and the frog are still on the way of their talk for centuries after centuries…, the spiritual power of all of these pictures is not only delivering the lives and ideas of the artist, but conveying another lifestyle and happiness existing in the artist’s own spiritual world. Artists’ concepts of living and the philosophy of living can be shifted efficaciously in this way. I would just like to call this sort of painting a characteristic “parable”. This parable is the other aesthetic value in He Xizhong’s art work and this is also avoiding the painting becoming simple narratives or unreasonable grumbles. Despite this, the parable helps the paintings to show its appropriate techniques and high quality.

A group of his paintings with red background are exceedingly compelling. These pictures enclose a round figure in red, inside the circle, a space without time and sequence is molded by pure white color wandering the word of parables and symbolism. The obvious contrast between lofty propylene and absurd images in his paintings never fails to fascinate people to dig out its theme. Animals, plants and reassembled physical symbols are incarnations of parable in several paintings about humans in Falling into this world.

From an overall perspective, the exceptional aesthetic property of He Xizhong’s paintings, which can be considered as an aesthetic characteristic emphasizing meaning through image if we take it into a Chinese traditional way of drawing. This could help us to understand his oil painting creations.

These paintings are only recent accomplishments of He Xizhong in his various explorations, But to some measure, the diversity and flexibility of his drawing style and the selection of themes in his performance can be discovered apparently, which is undeniably worthwhile and is supposed to be encouraged for young artists. In spite of this, He Xizhong also demonstrates the consistency in artistic cogitation and concept during all the variations in paintings. All the explanations above are not only about He Xizhong’s work, but also a way to understand his temperament revealed in his art creations. Personally speaking, I trust that his oil painting is in a right way and he finds his own direction for his future. I wish him to gain ever more and greater success in the future.



邵   军













Spicy and Glamorous, the Image Has A Voice ——Reading Xizhong He’s Art

by Hu Zhaoyang

Falling into the mortal world! They are cynical and refreshing, walking between the ethereal and demonic realms; they are colourful and gorgeous, Zen-like and bashful, this is how I felt when I first saw He Xizhong’s works. I applaud the sweet bitterness brought to me by the Falling into the Mortal World series and the work of Night of the Mortal World. People often wonder whether the function of art is to warn and to provoke thinking of human suffering? ! The interweaving of reality and fantasy in his works, in He Xizhong’s view, is the foundation of and way of conveying culture, which shows the artist’s wisdom. He Xizhong, who received a traditional education, studied the evolution of art history under the library’s fluorescent lights for seven years. The education he received, and the experience of distress and joy, forged his maturity. Derived from Chinese culture, his works have a unique perspective, and seem to be the interpretation of many legends, which makes his paintings “otherworldly yet down to earth”. Falling into the Mortal World 4-1 seems to me shows people’s tunnel vision. He vividly creates a black hole-like and Zen-like picture for us to ponder. “Zen” refers to the thoughts and awareness of the Buddha’s state of mind. This kind of metaphor, the weaving of meditation, is the painter’s way of grafting and incorporating traditional and contemporary, Chinese and Western cultures. His paintings are colourful, which carries the characteristic of modern art. If you look at the art history, it is not difficult to find the state of mind of contemporary Chinese artists born in the 70s and 80s through their experiences in this colourful world. Of course, He Xizhong, born in the 70s, is one of them. In fact, it is precisely because of these imprints and vivid individual labels branded by modern art that He Xizhong’s works can represent and talk to the present. From his works, we can see his learning trajectory: from Picasso to Bacon, Dumas to Koons, and finally carries the characteristics of postmodern “gaudyism”, so his works are spicy, glamorous and sharp. The spirit of sharp criticism is the power of He Xizhong’s works.

Translation by Zhang Jingjing and Liu Yang.
Proofread by Lipont Gallery

辛辣冷艳 大象有声 ——读何喜忠的作品