Giant N°3

  • 2008
  • Zhang Huan
  • Cowskin, steel, wood and polystyrene foam
  • 4,6 x 10,0 x 4,2 m
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Created at the same time as the artist’s major incense paintings, the sculpture Giant No. 3 is, like them, the result of a transformation. Here, it is the animals that cluster together to represent humanity, or humanity that adorns itself with furs for protection. The metamorphosis of this immense motherhood is suspended, and the giantess’s identity remains ambiguous. Whether a shaman clad in animal skins or a tramp in patched rags, she embodies a being caught between two worlds. The figure perched atop her further heightens her strangeness. Nestled in the hollow of her head, it is a self-portrait of the artist, a direct reference to one of his performances. In 2005, in Rome, Zhang Huang had scaled another colossus, the Marforio. The representation of the god Oceanus is one of Rome’s ‘talking statues’, those on which the city’s inhabitants used to display their demands.

Crédit artiste : © Zhang Huan Studio Crédit photographique : © Fondation Louis Vuitton / Marc Domage

Zhang Huan

Steeped in Buddhist philosophy, Zhang Huan explores themes relating to the mind/body connection and to cycles of life and death.

After graduating from the China Central Academy of Fine Arts in Beijing in 1993, Huan became known for his provocative performances in which he directly confronts water, blood, ice, and dead and living animals, testing his own physical and psychological limits. 12m2 (1994) is one of his most famous performances, for which the artist smeared himself in fish oil and honey and sat in a Beijing public lavatory while insects covered him. He pursued his work as a performer during his time in New York, from 1998 to 2005. His subsequent return to China marked a turning point. Having become a Buddhist, he has worked with 100 assistants to produce sculptures, installations and paintings that draw on religious iconography as well as contemporary Chinese history.

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