When looking closer at Zhuwei’s painting, we can almost feel  what blowing on her face is her bloodflow, feelings, happiness, anger, sorrow, a frank, simple, beautiful and generous-minded woman, and a period of true sensibility……the enthusiastic and unrestrained lotus seems to be the burning feelings; the slight undulation of waves under the cool moon light and voiceless milieu is evidently a drop of gloomy nostalgia and sentimental tears; those misty and multicolored brushstrokes show the beauty and sorrow inside her soul.  They are unrestrained and far-ranging as the setting sun on a turbulent river; flying passion……

Obviously, such touching artistic ambit can’t be created without Zhuwei’s strong and broad artistic cultivation, especially her ample life experience and ten-year ups and downs of carving out an emotional mold of her heart…..ten-year stagnancy turns into today’s sudden dazzling fission…..what more important is that Zhuwei uses a multi-gestured painting language to convey the spiritual state of self-dependent and self-sustaining young ladies struggling for living in modern metropolis; drifting, happiness, anxiety, enthusiasm, melancholy, unrestraint, loneliness, and desire are all expressed in her masterpieces, indicating her ability to master the painting language. 

Art can be so beautiful and touching! It is worthy to mention the presence of post-modernistic art aesthetism presented in the third group of  paintings, cats and fish. The lifelike images are only a prelude, stirring thoughts of dissociation of felines and fish, scenes, changes in spots, and the appearance of these creatures delicately toppling down representing our previous life experiences and notions. A state of uncertainty provoked by looking into social status and human plight at the philosophical level, an imago-happiness with ironic traits, unobservant to the normal regulation, and a social realism narration, as well as a wild game of anti-rationalism.