Coming from a visual arts background with a keen interest in the nuances of image making and its implications in the context of art history and the social environment, both aesthetically and culturally, Zhang Ga has been, since 1995, experimenting with networking technologies and information infrastructure to rethink the pictorial space and the potential emotional and psychological impact from such technologically engendered visual and perceptual effect.

The core of his investigation lies in a recombinant construct of the analog and the digital, the real and the virtual, which manifests itself in both the ambiguity and unpredictability of imagery with regards to speed and time, and the dynamics resulting from such tension between the inability to control and the anxiety of grasping the ephemeral.

His recent online body of work deconstructs and rebuilds from cultural iconography new interpretations and insinuates a succinct critique of the cultural and political atmosphere in which we live, suggesting a reconciliation with humanity in the age of technological sublime, in addition to invoking a formal dialogue with art history with regard to the perception of image making and viewing, interaction and authorship.