There’s a stillness to Zhao Mengge’s paintings, even when they vibrate with colour. That same meditative tension seems to surround the artist herself — focused, articulate, and, as she admits, “sometimes envious” of a life she’s chosen not to lead.

When I sit down with Zhao at the Hotel Rougemont & Spa, where she is concluding a residency and solo exhibition, I’m struck by her frankness. The Beijing-based artist doesn’t romanticise the artistic journey, nor does she hide from the compromises it has demanded, particularly as a woman in China’s rigid artistic landscape.

A breath of fresh air — and paint
Mengge’s current stay in Rougemont is her first working residency in Switzerland, and her voice lights up when describing the change: “It’s completely different from my life in Beijing. There, it’s fast, crowded, busy. Here, it’s quiet — I painted a lot and didn’t go out at all.”

Surrounded by greenery and mountains, she tapped into what she calls her “most direct feelings”, using a semi-abstract technique to express the first impressions of a landscape still foreign to her: “I’m just touching the skin of Switzerland. I hope to stay longer one day — to really get to the spiritual core of it.”

The luxury of time — and the lack of it
Though Mengge is a successful artist with exhibitions in Beijing and beyond, she doesn’t yet consider herself fully “established.” That, she tells me, has much to do with time — or the lack of it. “Time is not enough. I’ve chosen to be alone and to dedicate all my time to the creative field. But sometimes I envy women who have families and children. Maybe in my next life, I will have both.”

This choice, she implies, is less about freedom and more about necessity. “Once a woman marries, there are expectations — to care, to sacrifice. It’s very difficult to continue as an artist without compromise.”

Her honesty is neither bitter nor self-pitying. She speaks plainly, as someone who knows exactly what she’s given up — and what she’s gained.

Artistic constraints
As our conversation deepens, Mengge reflects on the layered pressures that still shape artistic life in China. Beyond economic challenges, she points to the weight of public opinion, traditional values, and deeply rooted social expectations — all of which can quietly limit artistic expression. “There’s a sense of how a woman, and especially a female artist, is expected to be,” she explains.

In Europe, she feels that expectation loosen. “Here, I feel freer. I can be open. I can explore different sides of myself without needing to justify them.”

From skin to soul
Her recent works, exhibited at the hotel, are filled with impressions of the local landscape, rendered in brushwork that is at once soft and strong. “In the beginning, it took time to find what I wanted to say. But once I found the line, I could draw very fast.”

And though the works may look finished, she insists they are only the beginning: “I feel like I’ve just started. These are the first impressions — I want to return and go deeper. I dream of having a studio abroad, somewhere in Europe, where I can create without interruption.”

Tea with Setsuko — and creative kinship
Before leaving, Mengge shares that she’ll soon have tea with Japanese-French artist Setsuko Klossowska de Rola. “She also works in painting, porcelain, sculpture… I’m very excited to meet her again at her chalet. I think we have much in common.”

Perhaps it’s fitting that Zhao Mengge found her Alpine footing in a hotel called “Rougemont,” nestled between tradition and innovation, solitude and inspiration. For now, she’s content with the immediacy of the moment — but as she puts it, “In my next life, maybe both.”

In addition to the works created during her residency, Zhao’s exhibition also includes a curated selection of paintings brought from China, offering a fuller sense of her artistic range and emotional depth. Together, the pieces reflect the breadth of her practice: grounded in Beijing, but reaching outward, ever more freely, toward the world.

The exposition at Hotel de Rougemont & Spa continues until June 15^th and is open to the public.

Jeanette Wichmann
 

Hôtel de Rougemont & Spa is owned by the Midea Group, founded by He Xiangjian. According to rumours, the acquisition was personally overseen by Midea's chairman, who selected the property for its serene alpine setting and exclusivity. Under Midea's ownership, the hotel has emphasised sustainability and cultural authenticity, supporting local artists and adopting eco-friendly practices. 

The He Art Museum (HEM) in Shunde, Guangdong, opened in 2020 by the He family, is South China’s largest private museum. Designed by Tadao Ando, its 16,000-square-metre space blends light, water, and wind with elements of Lingnan architecture. The spiral pavilion and dramatic double-helix staircase challenge the traditional white-cube gallery concept. HEM showcases Chinese modern and contemporary art alongside global works, with a strong focus on the local Lingnan School and community engagement through exhibitions, research, and education.

Both the hotel and the museum exemplify the He family's commitment to blending cultural appreciation with their business endeavours, extending their influence beyond manufacturing into the realms of art and hospitality.