Analysis and reorganization have become a noteworthy intervention method in Zhang Mu's painting. Today's painting is deriving its own painting issues and new experimental growth points in the new conventions of art history, which makes it possible for painting to release the independent context of individual artists in the order of contemporary art. Whether it is media and methods, or concepts and language, the interaction between painting and images has extended multidimensional clues on how to return and return to the problem of painting itself after the image. It can be said that the multiplicity of dimensions constitutes the experimental logic of "new painting" at this time. Exploring new methods to experiment with contemporary painting in an individual way may become a new starting point for artists today. The painting method provided by Zhang Mu was born under this logic. He used "concept" as a fun and dynamic mechanism to combine the analysis of images and the reorganization of language to form a "self logic", a reasonable "reaction" from painting after the wave of images.
The so-called "self logic" of Zhang Mu's painting has two levels of support. The first level is as the image content level of the painting, and the artist uses what as the starting point for painting to open up a problem situation; The second layer is the question structure of what supports a situation when it is opened. As a young artist who has focused on the process of "visualization of painting" since the 1990s to the first decade of the 21st century, Zhang Mu became familiar with the involvement of images in painting, which also determined that his painting should start with this. As Zhang Mu said to himself, from the perspective of image content, he is basically sketching a social space he desires to live in, which is also true or false, roughly within the semi imaginary range of the spiritual world. His painting themes are mainly based on the "scenic space" that can be visited and the "social space" that can be lived, forming a carrier of content to start his painting journey, This also constitutes the "landscape" characteristic of visual images in his paintings. If the previous wave of "pictorialization of painting" followed and maintained its visual structure within the principles of "pop" or "mocking realism" of "reproducible painting visual logic" regulated by a "symbol", the younger generation of painting in recent times has been more "open" to this issue than the previous generation of artists, and they have begun to break through the "principles" of images and carry out a larger scale of "conceptualization" reconstruction. In their individual logic, images are the foundation and means, but no longer the goal and result. A bolder attempt to individualize from images is to break through the visual structure of the "original image" and "re structure", becoming a visual game for the new generation of painting under the new order of "conceptualized images". This is also Zhang Mu's painting method of "analyzing and restructuring" after finding a new context for the second layer of painting problems. As a result, he found a new mechanism to support the conceptualization of the inner layer of his painting's "self logic".
When the "front, middle, and back scenes" or "object order" in painting landscapes are invaded and "connected" by "abstract elements" that are unrelated to the scenery; When a "water wave style" similar to traditional Chinese painting is "misappropriated" to form a "cross contextual" boundary with "abstract form"; When representing.
