Boshan Zhou,艺术家,音乐人,收藏家,A GOLDEN S△UL 创始人。

Boshan Zhou 于 2011 年在中国湖南大学获得工学学士学位,于 2013 年在纽约帕森斯设计学院获得艺术硕士学位。

艺术家是 Boshan Zhou 用来和世界对话的身份之一。

Boshan Zhou 的艺术作品以“永无止境的流动”为内核,探索“永恒”的母题。

Boshan Zhou:“「永恒」对我来说不是一个抽象的概念,而是一个具象的事实。「永恒」是不断流动的,「永恒」不是在未来,而是我们现在就在其中。我活在当下,也联于永恒。”

在音乐方面,Boshan Zhou 14岁开始学习吉他、创作歌曲;17岁开始创作电子音乐;18岁至20岁期间,在若干乐队担任主唱及制作人,包括摇滚乐、电子乐、Hip-hop等类型,在多地 Live House 进行了演出。

2009年,Boshan Zhou 在20岁之前发行了首张个人专辑;2010年11月,Boshan Zhou 发行了第二张个人专辑《 2 Sides 》,该唱片在中国(含香港)、美国、日本、澳大利亚、英国发行。

Boshan Zhou:“ 我的音乐作品和我的艺术作品一样,无法用单一的风格或流派来定义,当我创作音乐时,我从来没有预先确定要创作的歌曲的流派,往往是在一定的叙事和动机之后在歌曲内添加不同流派的元素。”

Boshan Zhou 在持续探索和试图突破艺术和音乐的可能性与边界。


「人若喝我所赐的水,就永远不渴。我所赐的水要在他里面成为涌流的泉源,直涌到永生。」
- 约翰福音 4:14

「认识你是独一的真神,并且认识你所差来的耶稣基督,这就是永生。」
- 约翰福音 17:3


我的作品是一枚以理性为内核的感性炸弹。

我认为艺术创作不一定必须先构筑概念,尽管受概念和目标驱动的作品通常被视为创作者思想的表达,我也有按此逻辑和过程创作的作品。然而,艺术也可以是“意外的相遇”,只是通过感性或灵感创造、甚至没有任何事先设想的概念而只是随机创作的作品,在完成的那一刻,如果作品带给了艺术家启发和感动,这个“启发和感动”也因此成为了作品的概念和意义。杰克逊·波洛克的创作更看重创作过程而非事先的规划,我则更看重对“意外的”作品完成时的提取和解读。有时候,对“目标”带点无知,可以让我本能地对“结果”作出反应。我视这种创作方式为主动构建不可预料性,先赋予作品生命,然后通过与作品对话的形式,若彼此之间获得了定义和意义,“意外”则变成了“一期一会”最好的“必然”,作品也因此变得更加生动。然后我发现,这样的“意外”并非意外,它本就是“必然”。我从来不是一个客观的记录者,而是一个主观的捕捉和创造者。我捕捉“意外”,写下“必然”。我认为这是一种纯粹的自由感。正如巴尔扎克所说:“艺术除了感动之外便什么都不是。”成功的感动和诠释,诞生了成功的作品。当作品呈现在观众面前时,便是“二次解读”的开始。作品引发观众的想象与思考,使得作品与观众产生连接,每个不同的个体对于作品的“二次解读”都是一种全新的连接,这些连接也让作品本身更具生命力。因此,我也视自己的作品为一种“开放概念”的沟通桥梁。

- Boshan Zhou


Artist, musician, collector, founder of A GOLDEN S△UL.

Boshan Zhou received his Bachelor of Engineering from Hunan University, China in 2011 and his Master of Fine Arts from Parsons The New School for Design, New York in 2013.

Artist is one of Boshan Zhou's identities for his dialogue with the world.

Boshan Zhou's artwork explores the motif of 'eternity' with 'endless flow' as its core.

Boshan Zhou:"Eternity is not an abstract concept to me, but a concrete fact. Eternity is constantly flowing. Eternity is not in the future, but we are in it now. I live in the present, and I am also connected to eternity."

In terms of music, Boshan Zhou started learning guitar and composing songs at the age of 14; began to compose electronic music at the age of 17; from 18 to 20 years old, he served as lead singer and producer in several bands, including genres such as rock music, electronic music, hip-hop, and performed in many live houses.

In 2009, Boshan Zhou released his first solo album before the age of 20; in November 2010, Boshan Zhou released his second solo album "2 Sides", which was released in China (including Hong Kong), the United States, Japan, Australia, U.K, etc.

Boshan Zhou: "My music is the same as my artworks, which cannot be defined by a single style or genre. When I make music, I never pre-determine what genre of the song I would create, I just add elements of different genres to it, after a certain narrative and motivation."

Boshan Zhou continues to explore and try to break through the possibilities and boundaries of art and music.


"But whoever drinks the water I give them will never thirst. Indeed, the water I give them will become in them a spring of water welling up to eternal life.”
- John 4:14

"Now this is eternal life: that they know you, the only true God, and Jesus Christ, whom you have sent."
- John 17:3


My work is a sensitive bomb with rationality as its core.

I believe that artistic creation does not necessarily have to construct concepts first, although works that are driven by concepts and goals are often regarded as expressions of the artist's thoughts, and I also have works created according to this logic and process. However, I believe that art can also be an "unexpected encounter", a work created only by sensibility or inspiration, or even randomly created without any preconceived concepts, at the moment of completion, if the work has inspired and touched the artist, this inspiration and sensation will also become the concept and meaning of the work. Jackson Pollock's creations place more emphasis on the creative process than prior planning, and I place more emphasis on the extraction and interpretation of "unexpected" works when they are completed. Sometimes being naive of the "goal" allows me to react instinctively to the "outcome". I regard this method of creation as “proactively build unexpected”, giving life to the work first, and then through the form of dialogue with the work, when the definition and meaning are obtained between the artist and the work, the "unexpect" become the best "inevitability" of "one time, one meeting", and the work has become more vivid. Then I found that such an "unexpected" is not an occasionality, it is originally an "inevitability". I have never been an objective recorder, but a subjective capture and creator. I capture "unexpected" and write "inevitability". I think it's a pure sense of freedom. As Balzac said: "Art is nothing but touch." A successful sensation and interpretation give birth to a successful piece of work. When the work is presented in front of the audience, it is the beginning of the "second interpretation". The work stimulates the imagination and thinking of the audience, making the work connect with the audience. Each "second interpretation" of the work by each individual is a new connection, and these connections also make the work itself more vivid. Therefore, I also see my work as an "open conceptual" communication bridge.

- Boshan Zhou