Zao’s name in Chinese, Wou-Ki, comes from the Taoist concept of “endless, infinite” - a concept which first appeared in Lao Tzu’s “Tao Te Ching” to define the permanence of the universe. Being one of the most influential Chinese artists of all times, Zao Wou- Ki skillfully reflected the Eastern philosophy of Taoism through the forms of Western Abstract Expressionism. Having experienced much historical unrest and cultural mobility, he painted works that represent turning points during these transitional periods. From his earlier phase in figurative art, the Klee-style images suggested a lyrical abstraction that was essentially Eastern. Zao perfectly shaped an interpretation of Eastern and Western Art concepts through subtle imagination and his experiences of life, the universe, and more.

For Zao Wou-ki, after having lived through the many peaks and valleys of his life to that point, the 1990s was a stage where he could gradually move toward becoming truer to himself and calmly making his way in the world. Since the 1950s, Zao had gradually established his personal artistic style. Having experienced multiple stages of metamorphosis, his style of lyrical abstraction became more mature in the 1960s. In the 1970s, he revisited ink wash, and, in a triumph for his genius, began to use ink generously in his oil paintings. And in 1981, he was invited to hold a solo exhibition at the Galeries Nationales du Grand Palais. Not only was he the first Chinese person to have had this accomplishment, this also showed that the artist had attained a place of honor. Later, at an age where, as Confucius put it, he knew the will of Heaven, Zao never stopped creating and continued to make personal breakthroughs. Around 1989, he entered a new creative stage. During this period, the artist started using a cave-like composition, covering up the center from the outside. There was a significant difference from previous works in which the mountains are clustered in the center and radiate outwards, making the center of the composition the source of power. The new approach continued into the second half of the 1990s.

"22.04.1997" adopts such an encapsulating composition, exactly due to its lack of a clear visual center, undoubtedly requires more of a skill in excellence to master structure and color to condense the picture. The artist applies such radiant color as orangey yellow and green, creating a spiritual world that is so solemn and simultaneously free of restraint. The whole painting is full of rhythm as life without any stagnant. The rose hue is so rich along with delicate layers compiling to form a profound and mysterious picture. Every detail is almighty fascinating, attracting the viewers to explore deeper and farther. It contains endless subtle mysteries about the everlasting nature. This is Zao Wou-ki's tribute to the world, leading us to quest the universe that is unbounded by time and roams between heaven and earth.

Poet, writer and art critic Yves Bonnefoy (1923-2016)commented in 1997, the year that Zao Wou-ki created 22.04.1997: In his paintings, Zao Wou-ki is not in the slightest just making simple observations of color and form using his feelings. Rather, it is about his ability to coordinate. The shapes and colors are used but not stabilized. They coordinate with each other in the composition, moving continuously, tying together, expressing, and appearing fleetingly in the visible world… Around the edges of dissolving objects, they give us a peek at an amazing dawn unknowable in our usual lives. (Yves Bonnefoy, The Thought of Zao Wou-ki, Zao Wou-ki's Sixty Years of Painting, Shanghai Joint Publishing, 1999, pp.27-28. Originally published for the Zao Wou-ki exhibition at the Galerie Thessa Herold, Paris, November 1997 to February 1998.) Zao Wou-ki, who was passionate and persistent in both his internal life and his artistic career, lived through tumultuous times in history. He explored the seas of Eastern and Western culture, and walked a solitary path, one that he blazed for himself. Throughout his journey, he eventually transcended all the ups and downs. Displayed in the work 22.04.197, they naturally give off a solemn and intelligent glow, in a magnificent and mysterious world.