Wang Yan Cheng settled in France at age 29, with the hope of acquiring thorough perfection of his style. He participated in a visual arts program at the University of Saint-Étienne. This marked a difficult period for him, as he had to face negative criticism from his professor, as well as certain financial difficulties. To earn a basic living, and to have access to Parisian exhibitions, Cheng found himself taking on a number of side-jobs. Following a few laborious years, he finally became noticed by an art critic who then invited him to exhibit for the Prince Albert Foundation in Monaco. There he received the foundation’s grand prize, which brought him into a period of grace. From then on, he received backing from a number of important French galleries, who staged solo exhibitions and enabled him to participate in collective exhibitions. Beginning in 1998, his works were acquired by Chinese public collections, such as the Fine Arts Museum of Shenzhen, the Fine Arts Museum of China in Beijing, as well as Beijing Opera. In 2002, Wang Yan Cheng became vice president of the IACA, part of the UNESCO International Association of Visual Arts. In 2013, the French Ministry of Culture and Communication named him Knight of the Order of Arts and Letters. He then later became an officer of said order. Successor of Zao Wou-Ki and Chu Teh-Chun, Wang Yen Cheng has quickly become known as the Franco-Chinese master of lyrical abstraction. “We have a certain tendency of placing Wang in the same vein as Zao Wou Ki and Chu Teh Chun. Yet, upon looking closer, there is a wide difference between the three. Zao Wou Ki’s abstraction is situated in a contemplative search for elsewhere, a space of seemingly immemorial signs, beyond time, beyond space; [...] Wang’s abstraction is, above all else, physical and visual. [...] The relation, in his work, of both near and far reveals itself through the depths of different colors.” — The Mage Who Withdrew the Horizon, Dong Qiang (poet, critic, and professor at the University of Beijing), 2007. The encounter between Chu Teh Chun and his vibrant, fluctuating paint renderings greatly inspired Wang Yan Cheng. Progressively using full color, while gradually abandoning linear strokes, Weng comes to fully structure compositions. His highly personal pictorial voice thereby emerges. Concerned with “leaving his life on canvas” he works with themes that pay tribute to a certain dialogue between people, the greater universe, and nature. His technique of accumulating colors, something quite personal to him, creates the impression of there being great depth to the image.
王衍成1960年出生于广东，儿时于广州生活，几年后又随家人 搬到了山东。他早年曾与父母在胜利油田工作，每到拂晓与黄 昏时分，青灰色的山村便蒙上橙红色的面纱，周围色彩斑斓的 乡野风景给他留下了深刻印象。 1978年，王衍成进入山东省艺术专科学校学习美术。学校中很 多老师都曾到过欧洲进修，透过他们的讲解，王衍成已开始对 西方艺术有所认识。此后，他又在山东省艺术学院美术系度过 了大学生活。1986-1988年，王衍成进入中央美术学院艺术史 论系高研班进修。经过这套完整的艺术教育，其在抵达法国时 已经打下了深厚的写实主义功底。 29岁时，王衍成移居法国，力求进一步完善绘画技巧。他先是 进入圣艾蒂安大学的造型艺术系深造，但当时教授的批评和经 济上的窘迫令他度日如年。为了谋生并能够参观各式展览，他 打起了零工，甚至在巴黎街头为过路旅客画肖像为生。 度过了艰辛的几年后，他终于被一位艺术评论家注意到并受邀 参加摩纳哥亲王阿尔贝二世基金会举办的展览。展览上，他获 得阿尔贝亲王大奖，自此掀开了辉煌的篇章：多家法国大型画 廊争相力捧，其画作也出现在各种群展和个展上。1998年开 始，其作品逐渐得到国内认可，被深圳美术馆、北京中国美