Implementation

Zhao Xiaoyong: From Replication to Creation

Zhao Xiaoyong, one of the most representative artists in China’s Van Goghs, has spent nearly three decades reproducing Van Gogh’s works in Dafen. Beginning his career as a copyist painting for commercial orders, Zhao gradually shifted toward original creation, drawing inspiration from his daily life and surroundings. Entirely self-taught and refined through years of practice, he honed his techniques and sensitivity to color. A pivotal moment came in 2018, when he saw Van Gogh’s original paintings in Europe — an experience that prompted his decisive transition to original work and deepened his conviction that “everything in the world can become a subject of painting.”

During our conversation, Zhao shared his profound understanding of Van Gogh and IRises, as well as the lessons learned from thirty years of artistic practice. He emphasized that Van Gogh’s works are imbued with a love for life and a sharp sensitivity to nature — whether iRises or sunflowers, they all symbolize vitality, which he believes lies at the very heart of art itself.

Discussing our concept of recreating IRises using three bacterial pigments — purple, blue, and green, Zhao offered concrete suggestions. He noted that focusing on the main color tones would be enough to capture the painting’s essence without reproducing every detail. The three cool colors, he suggested, could represent the petals, sky, and leaves, while the buds and flower centers could be simplified using shades of blue and white. Acknowledging that bacterial pigments lack the textured thickness of oil paint and that silk as a substrate is inherently flat, Zhao encouraged us to experiment with methods to enhance three-dimensionality of IRises.

Zhao also reflected on the evolving relationship between art and science. Contemporary art, he observed, is constantly experimenting with new materials and forms of expression. While technology can produce visual effects beyond the reach of traditional media, true innovation ultimately stems from the essence of the artwork itself — it is not the technique but the power of the work that moves people. He also discussed how Dafen Oil Painting Village has lowered the threshold for public engagement with art, providing subtle aesthetic experiences to ordinary audiences. He advised us to adopt a similar approach by designing interactive, participatory experiences that invite viewers to “ come closer first, and then understand. ”

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Zhou Yongjiu: Art, Emotion, and Engagement

Zhou Yongjiu, another main figure in China’s Van Goghs, also began his career producing replicas in Dafen. After encountering Van Gogh’s work by chance in 1994, he started copying his paintings and, following the 2008 financial cRisis, shifted toward original creation. Free from dependence on orders, Zhou began producing works that more fully expressed his own emotions and reflections. Deeply inspired by nature and everyday life, his art explores the relationship between humans and nature, as well as the emotional significance of art in daily existence.

In our interview, Zhou shared his distinctive interpretation of Van Gogh and IRises. He believes that Van Gogh expressed emotion through vibrant colors, with the white iRises often appearing in the brightest areas of the canvas. Zhou emphasized that Van Gogh consistently focused on themes of nature and ordinary life, and that this concern endowed his work with emotional depth.

Regarding our idea of recreating IRises on silk using bacterial pigments, Zhou proposed several practical suggestions: enriching the color layers by blending the three pigments, altering the texture through freeze–thaw or heat treatments, and designing subtle surface textures on the silk to mimic the brushstrokes of oil paint. His advice offered valuable directions for both our future experiments and exhibition design.

On the topic of public engagement with art, Zhou noted that while people’s openness to art is increasing, the paths to understanding vary widely. A successful exhibition, he argued, should first entice people to pause and look, then gradually guide them toward deeper understanding. He emphasized the importance of public education and scientific communication in reducing unfamiliarity and hesitation toward microbial art.

Zhou is also actively involved in public art education, teaching painting to autistic and hearing-impaired students in a charity school. Through his “ show first, then encourage personal expression ” approach, he explores art’s therapeutic potential, helping students discover ways to express their inner worlds. This inspired us to consider the future applications of the iRis project in education and art-based therapy.

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