A 1955 lithograph by Zao Wou-Ki, featuring abstract calligraphic marks and earthy tones that bridge the gap between Eastern tradition and Western abstraction.

Entre deux villes, created in 1955, captures the period when Zao Wou-Ki moved away from figurative representation towards the abstract language that defined his career. During this time, the artist lived in Paris, where he engaged with the European avant-garde while maintaining a connection to the calligraphic traditions of his Chinese heritage. This work displays a synthesis of these two worlds, using a restricted palette of earthy ochres and terracotta tones to create a sense of ancient, weathered surfaces. The composition is structured around two distinct rectangular zones, which appear to float against a textured, scraped background. Within these zones, Zao employs a series of delicate, gestural marks that resemble archaic script or oracle bone inscriptions. These marks do not form readable text, but instead function as visual rhythms that suggest movement and space. The application of ink and pigment creates a layered effect, where the surface feels both fragile and permanent, reminiscent of stone carvings or eroded walls. Zao Wou-Ki often spoke of his desire to paint the invisible, such as wind, light, or movement. In this print, the interplay between the dense, scribbled areas and the open, negative space allows the viewer to project their own interpretation onto the work. The lack of a central subject forces the eye to wander across the surface, tracing the lines and observing the variations in tone. This piece is an example of the artist's ability to balance controlled technique with spontaneous expression, resulting in a composition that feels both grounded and ethereal. It remains a representative example of his mid-century graphic output, demonstrating his mastery of lithography as a medium for exploring abstract concepts of time and geography.