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Shouzhi Wang, Los Angeles-based artist, and art educator, is an active and influential art and design historian in both America and China. Wang helped to establish design majors at Guangzhou Academy of Fine Art in the early 1980s, which is considered one of the earliest design institutes in whole China. He worked as a full-time faculty member in the Department of Liberal Art & Sciences to teach design history and design theories at Art Center College of Design, Pasadena in Los Angeles from 1990 to 2011。Wang was invited by Lee Ka-Shing Foundation to head the design school in Shantou University in China since 2011 until 2018. He is appointed by Shanghai Tech University as vice dean in the School of Creativity and Art in 2019. He has been a tenue professor for over three decades in those universities. He worked as an instructor of Ph.D. candidates in art theories from the Central Academy of Fine Art ( CAFA, Beijing)、China Academy of Art ( CAA ) for over one decade. His works An History of Modern Architecture ( 2012, 2nd edition), An History of Modern Design ( 2016, 2nd edition ), and many others are basic readings for college students as well as graduate students.

Wang became a full-time artist since the 1970s when he worked as a professional art director in a craft studio. He received training and skills in diversified fields: Chinese traditional ink, watercolors, and gouache. His fountain pen drawing is extraordinarily powerful and impressive. Besides contemporary art, he has focused on the subject of urban life and architecture against historical context.


Wang Shouzhi has been in love with the landscape style of the Song Dynasty for ages. He considers landscape paintings in Northern Song Dynasty has a unique character. He uses ink painting skills developed in this period to create a magnificent atmosphere in his ink paintings. Song Dynasty, in between Tang and Yuan Dynasties, is a tremendous important transition and transformation in Chinese art. In a highly motivated art atmosphere promoted by the royal family of Song, Chinese traditional landscape painting reached its golden age. Beaux Art and scholar styles competed with each other and merged as well. Great numbers of masterpieces were produced at that time. Tranquility, hermitash, magnificence and force of Nature are fundamental visual languages, which bring a sense of aesthetic power to the people. Wang tries to express this feeling throughout his ink paintings. Benith ink, Wang himself demonstrates his nostalgic attitude of missing parts of Classic time.

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