Duality: A Dialogue Between Stoneware and Bronze is the theme of Wenzhi Zhang’s new artworks which are composed of four series, respectively, the "That Era," “Current Times,” “Women’s World” and “Please Don’t Forget the Dragons”. Compared with the previous works of the artist, her new works are similar to a comprehensive presentation of the artist’s life experiences, feelings, emotional memories, and her perceptions and philosophical thinking about the current times in an artistic way. From her earliest “Porcupine Series” showing her concern over the human relationship, the “Wine World Series” expressing and eulogizing the tenacious willpower in our life to such series as the “Soul of the Forest,” “Weeping Birds” and “Inhabitation Series” focusing upon the relationship between the human being and the environment and a number of large-size environmental ceramics, Her previous creations from different stages seem to be a foundation or an accumulation of creative power for a complete presentation of her artistic conceptions. 
Obviously different from the previous ones which, more often than not, adopted symbolic, expressive and abstract methods to break up, deform, trans-locate, dislocate and patch up the current world images to express a clear theme in a certain aspect. Her new works become an expression of the comprehensive, all inclusive historical and social contents by using the humorous, exaggerated, and figuratively realistic ceramic language (particularly, the animal images should be said to be a representation of the synthetic images of the historical imagination). Her themes cover a wide range instead of focusing on a single one either in the past or the contemporary “times” or “the World” based on “Men” or “Women,” which shows the vague recollection and blurry memories of the historical scenes, the enthusiastic contemplation of various scenarios of our life realities and the straightforward interpretation of the historical imaginations. These stoneware sculptures and bronze castings realistically and whimsically reflect the unthinkable human figures and animal images as if the history and the current scenarios, 
the East and the West, dreams and realities, rationality and absurdity, the forgettable and memories and “that era” and “this times” were thrown into a rolling washer for a mixing, giving people a strange feeling. This is totally unexplainable but emotionally mixed.
The Red Guards wearing red-star caps but half-naked with field bags printed with the characters “Serving the People” look into the distance with wide-open eyes. The fully-naked masculine body with YANG hyperactivity held in his hand “Quotations from Chairman Mao” and wore a red armband, quite popular in the period of the Cultural Revolution. The modern man looks just like an anencephalus newborn with stretched neck and sharpened head, but wearing the T-shirt and smoking a cigarette. The modern woman has towering breasts and rounded belly, but in sullen spirits or with exaggerated expressions. In such a way, all of these images are shaped into humorous, interesting colorful, and mutually conflicting details and diversified visual elements. Thus, having provided viewers with a vast space for imagination, far beyond the limited literal description of the artist’s creation motives. 
Greatly inspired by the different shrinkage of the ceramics and cast bronze, Wenzhi Zhang has discovered that there are so many secrets unknown to us in the world. In this regard, she has tried to use the visual image of a matrix to express the common features and interpret the individual artistic conceptions with the two different materials of stoneware and bronze. She named it "Duality: A Dialogue between Stoneware  and Bronze." Not to mention that her so-called “duality” has much to do with the dualism in the western philosophy dating back to ancient Greece, her such creative practice is greatly thought-provoking simply from the perspective of the visual effects of her works. Pairs of “twin” figures show distinctive difference in body weight due to the different materials, which prompts us to look at this world with omnipresent differences from the deep recesses of our heart. 
However, in view of each specific art work, we would rather say that Wenzhi Zhang has made a full use of her intuition and perception, her artistic skills, techniques, and the brilliant art materials in presenting us a world integrating conflicts in a vivid way. Instead of that she has tried hard to disclose the existence of such difference and contradictions. In her “That Era,” we may see the irrationality in the “Cultural Revolution Period” and the universal humanity, the integration in the course of conflicts through the history and the future of the world. We may see the integration of the East and the West in the course of conflicts in her “This Time”, however; will also see the integration of woman and man in “Women’s World.” Perhaps, we should say that it is not quite easy to find such conflicts in her “Please Don’t Forget the Dragons” series, which is quite different from the above-mentioned three worlds. As a matter of fact, these creative inspirations come from the pottery ornaments installed on the roof ridge of ancient Chinese buildings, i.e. the legendary animals made of pottery in different shapes like Chiwen, one of the Dragon’s son, implicitly expressing her entire emotions and cultural ideals. Wenzhi Zhang said, “I have tried to interpret China’s great leap forward, great changes, advancements and pioneering spirit by using the different shapes of the nine dragon newborns.” The integrated features of the “Nine Dragon Newborn” are self-evident just as Wenzhi Zhang meant to express. She said that “the Nine Newborn dragons represent a supernatural being with the features of fish, horse, bird, snake, cow and lion, which enjoys a long history for more than 8000 years as the participant and witness of the great reunion of the Chinese nation and the dragon spirit represents the unity and cohesion.” Among the contemporary ceramic artists in China, Wenzhi Zhang is a typical representative of those artists who have frequently traveled between China and the US, and around the world for the past decade. Perhaps, it is the abundant cultural experiences, and the broad cultural horizon that shape Wenzhi Zhang’s cultural ideals highly featuring the integration of conflicts. Because of this, we can observe these conflicts of the oriental Monistic wisdom and the western philosophy from the deep recesses of her Dualistic World of Stoneware and Bronze.