Can Portrait No. 19

This original figurative sketch explores perspective, visual compression, and individuality through an elevated view of the human figure.

Zheng Hao’s The Can Archive is based on the idea that observation is never neutral. As people pass through the artist’s gaze, they are selected, distorted, simplified, and reorganized before becoming individual visual “cans.”

In Can Portrait No. 19, perspective becomes part of that transformation.

Viewed from above, conventional body proportions change. The head appears enlarged relative to the torso, while the legs and feet become smaller and more compressed. Rather than correcting these distortions, Zheng Hao allows them to define the portrait.

The patterned headwear further strengthens the figure’s identity, functioning as a memorable visual marker within the otherwise simplified composition.

This work therefore shifts the series toward a question of viewpoint: a person does not possess only one fixed visual form. Their appearance changes according to where the observer stands and how they are seen.

Through Can Portrait No. 19, Zheng Hao turns foreshortening into a metaphor for perception itself—showing how the act of looking can reshape the individual being recorded.

Can Portrait No. 19 approaches the figure from an unusual elevated viewpoint. Seen from above, the body appears shortened and compressed while the head becomes more visually dominant. A patterned head covering or cap frames the face, while the shoulders, torso, striped lower garment, and small feet recede beneath it. This change in perspective immediately separates the work from the more frontal and side-view figures elsewhere in The Can Archive. Zheng Hao is not simply recording what the person looks like; he is also recording how the act of looking changes the person being seen. The elevated viewpoint creates a strong sense of visual compression. The figure seems contained within a small area of the paper, almost as if viewed from the position of an observer sorting, examining, or placing a specimen into an archive. Within Zheng Hao’s “canning machine” metaphor, this perspective becomes especially resonant. The person is transformed by observation itself, reduced into a compact but highly distinctive visual form.

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Each artwork is carefully prepared and securely packaged to help ensure safe delivery. Protective wrapping, reinforced corner protection, and sturdy outer packaging are used to safeguard the artwork throughout transit. Package Dimensions: 34 × 42 × 9 cm Package Weight: 0.8 kg If you require custom framing or professional mounting services, please contact us by email before placing your order or prior to shipment. As framing requirements, packaging specifications, destination, and shipping conditions may vary for each artwork, framing and shipping costs will be individually assessed and quoted on a per-artwork basis. Our team will recommend an appropriate packing and shipping solution based on the specific work to help ensure it arrives safely and ready for your space.

As an original sketch on paper, this artwork should be displayed and stored with particular attention to light, humidity, and surface protection. Keep the work away from direct sunlight and prolonged exposure to strong artificial light, as excessive UV exposure may gradually discolor the paper and affect the drawn surface. Display the artwork in a stable indoor environment away from excessive humidity, heat, and significant temperature fluctuations. Avoid positioning it near radiators, fireplaces, air-conditioning vents, or damp areas. For long-term display, archival-quality matting and backing materials together with UV-protective glazing are recommended. The artwork should not come into direct contact with non-archival adhesives or acidic materials. Avoid touching the drawing surface with bare hands. When handling is necessary, carefully hold the sheet by its edges with clean, dry hands or appropriate protective gloves.