The Visionary Transformation of the West comes from the process of the artist using his own jingluo (main and collateral channels, regarded as a network of passages, through which energy circulates and along which the acupuncture points are distributed) and body to perceive western paintings. Through the transformation of this kind of investigation and encountered experiences into contemporary paintings, the artist explores the energy flows brought about through art that cross the boundaries between the east and the west, thereby transcends the differences in the representations of images.
For Zheng Guogu, artworks from history are not the end of expression but should be the starting points of perception; artists are not reliant upon the knowledge and analysis of art history, but should introduce a kind of perceptive method such as “gazing, listening (smelling), questioning, touching” (in Chinese medicine practices) into direct examination of the energy carried by the works. In his point of view, the subject of divinity in the history of western paintings are resonant with the subject in Thangka paintings, both having a characteristic of infinite transformations between the virtual and the real, abstract and figurative.
In Visionary Transformation of the West, the artist overlaps images, and superimposes positive images with negative images, so that the imagery is constantly changing among the multi-layers of the positive and the negative, like a mirror image extending infinitely, revealing the space behind its apparent visualisation.