ZHANG Ruyi has been using industrial paper with formal arrangement of lines since the early days of her graphic practice, the repetitiveness and preciseness of which serve as a starting point for her to probe into the matter of possible space. Influenced by the industrial paper, ZHANG continues to make up a composition of perpendicular, parallel and diagonal lines in her later works, so as to provide a spatial content for the still life placed in the center. The foundation of constructing possible space in her graphic works is not the Western tradition of optical naturalism, but the planar structure of composition oriented to graphic symbols in Chinese landscape representation—taking diagonal lines from the sloping shoulders of a triangular motif of a mountain or a gabled roof in a direction perpendicular or parallel to the line of sight, to form parallelograms that can suggest recession in space. With the nature signified by the plant elements placed, cacti in the most cases, the “industrialized” landscape is produced.

张如怡在早期平面创作中采用带有栅格线条的工业用纸，线条本身的重复性与精确性是艺术家探索可能性空间的起点。受到工业用纸的影响，张如怡在后来的平面创作中也以垂直线、平行线及对角线的组合为居中于画面的静物提供空间场景。她在平面创作中建立可能性空间的基础并非西方然主义的光学视觉结构，而是中国山水画中的图形语汇与构图 法——沿着画面垂直线、平行线用一个斜顶或一座山的三角母题斜肩取来的对角线形成平 四边形，以提示空间的后退，与被安置的植物元素(主要是仙人掌)所象征的自然一同构成 了“被工业化”的景观。