In my view, once consumption becomes the backbone of people's life, it also becomes the common ethical standard for the entire society. When people are contented with actual materials, their self-awareness and individual existence are already annulled by a fictional fantasy. The absence of a specific background, scatted objects, furniture and figures floating on the canvas, the psychological isolation that I want to represent requires more spatial void in my paintings.

-Excerpt from the Feng Boyi's Some Things Change, Others don't

An overwhelming number of visual art pieces that represent reality with critical, ironic and cynical languages, is filled with gaudy, over-the-top and fashionable symbols and seems to be somewhat cliche. In recent years, Zeng Hao's paintings have always centered around or focused on his living space and the scenery that he has been exposed to.

Referring to the area of Wang Jing, a major residential area in Chaoyang District, in the northeast of Beijing, Zeng's images reflect what Zeng calls Wang Jing's scenery and Wang Jing's home. This kind of scenery outside of his window and in its own room is clearly typical of the living proofs as well as inner and emotional encounters of people living during the transitional period in Chinese society today.

Zeng places the viewer in the middle of everyday life, but his disclosure of details intentionally miniaturizes figures and enlarges certain objects so that the objects and figures have an equal relationship in the space of his canvas. Representative of his unique style, 1998.9.19. 19:00 (Lot 523) depicts a profound image of the commodity and consumer's society, which is the overall life force in his paintings.