This retrospective of French artist Vincent Cazeneuve, who has lived in China for over a decade, traces the evolution of his creative practice using lacquer as a primary medium, exploring both the material’s potential and his innovations in the craft. Additionally, the exhibition will showcase his early works on paper and silk, where the materials were drawn from his immediate surroundings. Whether lacquer, paper, or silk, Cazeneuve selects and applies materials that resonate with his environment, further deepening his connection to place and material.
The phrase “丹赤漆黑” (DAN CHI QI HEI), from The Analects of Confucius, states that “The vermilion remains red within; the lacquer remains black within. A nobleman must be cautious of where he resides.” This ancient wisdom refers to the intrinsic truth of things, emphasising that “red is red, black is black”—a reflection of the true nature of people, objects, and events. In Cazeneuve’s work, he respects the inherent qualities of the material, following its natural tendencies, yet refuses to be confined by its limitations, unlocking lacquer’s untapped potential.
The exhibition explores Cazeneuve’s journey from material selection to craft techniques and conceptual inquiry, offering a multidimensional presentation of his search for the physical and spiritual essence of lacquer and the transformation of his creative language. His use of materials like paper and silk in his earlier works provides another layer to this journey, revealing how the artist’s surroundings have shaped his approach to materiality.
Lacquer, also known as “national lacquer” in China, is an art medium with thousands of years of cultural history, known for its balanced blend of strength and flexibility. It reflects a philosophy of harmony and moderation. From France to China, Cazeneuve’s journey began with his move to Chongqing in 2009, and in 2020 he relocated to the remote Daba Mountains. In this secluded setting, Cazeneuve pursued his personal ideal of “choosing the right tree to nest in”—living close to lacquer trees and harvesters, while continuing his dedicated exploration of lacquer’s artistry, materiality, and temporality. His work breathes new life into traditional lacquer, infusing it with contemporary meaning and visual resonance.
As a lacquer artist, Cazeneuve emphasises the mutual enhancement and elevation between spirit and material in his creative process. Through this exploration, he accumulated a deep knowledge of materials—such as ramie, bamboo, rice sacks, eggshells, and gold and silver leaf. These materials, whether serving as the lacquer’s substrate or decorative elements, take on new meaning through their transformation in his hands. In his early works on paper and silk, the materials chosen from his surroundings contribute to the dialogue between the physical and the conceptual, creating a profound connection between artist and environment.
Cazeneuve’s deliberate decision to forgo titles for his works offers a refreshing openness in a contemporary art world dominated by language and labels. By leaving interpretation entirely to the viewer, he challenges conventional frameworks and allows the artwork to speak for itself.
For Cazeneuve, his connection to the artwork is fleeting—he only temporarily possesses it during the act of creation. The meaning of his pieces cannot be reduced to a simple explanation; instead, it emerges from the subtle whispers of the materials themselves. Faced with the long and rich tradition of lacquer art, which has flourished since the Hemudu period and peaked in the Ming and Qing dynasties, Cazeneuve remains undeterred. Through his tireless efforts, he ensures that lacquer art, as well as the materials of his early works, continues to evolve and grow in a contemporary context, becoming ever more vibrant and enduring with time.
