Zao Wou-ki: Recent works. Alisan Fine Art until 19 June ZAO Wou-ki went to Paris in 1948 and has remained there as a painter ever since. The story of his paintings' evolution is the story of a deeply Chinese person at first overwhelmed by the range and brilliance of Western art, which he first saw only in reproduction, and then absorbed all its variety and genius when presented in reality. His early paintings, which show figurative and derivative Western influences, slowly move away and into abstraction. He said it was Cezanne's painting which allowed him to discover how to be a Chinese painter. This exhibition of large and medium-size canvases and works on paper demonstrates, if demonstration is still needed, how Chinese - and the same time how European - his work is. At first glance, you may be tempted to jump to the conclusion that his predominant influence must be the late oils and watercolours of J. M. W. Turner. A lyrical but emphatically unsentimental abstraction recalls the world dissolved into mists of gradating colour in Turner. But the concept of space in Zao - as emphatically - does not. His special concept is clearly Chinese, although achieved in a manner quite apart from that of the classical Chinese artists. In several of the most engaging paintings space is coloured palest peach with texture, and is defined by areas reminiscent of waves blown by the breeze as they break. The effect is entirely Chinese achieved by European means. These are impressive paintings - the work of a man, now 72, who is young in thought and a sage in experience. The exhibition is a delightful reminder of how a painter of distinction can grow even further that you had thought possible.