Shan Weijun's artistic approach is anchored in an introspective and contemplative method, in which landscape, though drawing its roots from the French countryside, echoes the intimate and remembered topography of his native Jiangsu region. Through the use of traditional Chinese techniques, rice paper, brush, Chinese ink, Shan reinvents the peri-urban landscape by means of a singular method he calls “a thousand dots”. This technique, evoking the French Impressionist pointillism of the late nineteenth century, is nonetheless distinguished by its exclusive use of shades of grey, lending his works a remarkable depth and subtlety.
