Zhuang Hui was born in 1963 in Yumen Town, Gansu Province, China. He is one of the key figures in China's New Photo movement in the 1990s. He currently lives and works in Beijing. He began his artistic career as an oil painter and subsequently shifted to performance-based art and photography. Hui attributes his early interest in art to his father, who worked as a travel-ing photographer. The artist's work explores relationships between public and private spheres as well as the individual's search for identity in a changing society.  

During his engaged and fruitful artistic career, Zhuang Hui participated in a number of exhi-bitions including Xi'an Art Museum, Xi'an (2015); Galleria Continua, Beijing (2014); Folk-wang Museum, Bonn (2014); 9th Shanghai Biennale, Power Station of Art, Shanghai (2012); Today Art Museum, Beijing (2011); YUZ Museum, Jakarta (2010); Salt Lake Art Center, Salt Lake City (2009); The Groninger Museum, Groningen (2008); Tate Modern, Liverpool (2007); Galleria Continua, Les Moulins, Paris (2007); Galleria Continua, San Gimignano (2006); Haus der Kulturen der Welt, Berlin (2005); Kunstmuseum Bern, Bern (2005); MusIJe d'art contemporain de Lyon, Lyon (2004); Centre Pompidou, Paris (2003); Deichtorhallen Hamburg, Hamburg (2002); Beyeler Art Museum, Basel (2001); Ghent Art Center, Ghent (1999). He also participated in the 48th International Art Exhibition Venice Biennale, Venice (1999).

Zhuang Hui was one of the key figures in China's New Photo movement in the 1990s. His interest in art stemmed from his father, a traveling photographer. Zhuang's work explores the relationship between the public and private realms, as well as individual identity within a constantly-evolving society; these explora-tions are deeply rooted in the lands of China, with its stubborn energy and vitality.

Zhuang Hui's first widely-recognized work imitated group photographs that were common at a specific point in Chinese history. The series focused on groups of workers, farmers, soldiers, and students from all over China, exploring the intensified socialization of the Chinese people at a specific point in history. In a creative career spanning more than twenty years, Zhuang has attempted to personally experience the multiple complex situations associated with this transitional period in Chinese society, creating works such as "Thirty and One", "Chashan County", Factory Floor", and "Yumen Project".

In “Qilian Range", Zhuang returned to the landscapes of his hometown, transforming his concern and compassion for reality into the silent observation of nature. When he looks to the external world and returns to his own life, the form of this new work no longer seems important, but in the end, all of the questions of art are asked for the sake of that final question.