The sensation of water is hard to shake. The oil paint itself has a liquid quality-it has been thinned enough to resemble watercolour from a short distance -and layered images often appear soaked, suspended, or dripped on. Zhang's frequently recurring dreams about drowning presumably account for all the water imagery in his work; his preoccupation stems from two swimming accidents when he was seven years old: one happened at the shore of the powerful Yangtze River, where he was playing with his companions. His brother's friend had pulled him into the current, teasingly, but soon lost control and had to swim ashore. Zhang remained out in the water and was almost dead before an adult who could brave the current came to his rescue. That tentative, struggling moment between life and death informs the artist's work expansively. His watery paint-strokes summon additional, related junctures of mortal existence: the point between conception and life, the limbo between death and afterlife, the suspension of time during coital climax.