对毕业于中央美术学院版画系的郑维，版画的製作方式和製作过程不仅是他的创作方式，更是他的创作方法论。木板雕刻呈现出的油画肌理效果，金属穿透木板获得的立体空间，拼贴与画面的若即若离形成的张力，最终使郑维的作品成为一种无法定义的作品种类，并且获得了空前複杂的视觉效果。

郑维作品中的人物始终处在一种非现实的时态中，那些面部被极端简化或刻意修饰的人物只能依靠衣著、动作和周边环境加以辨认，具体却又模糊的氛围就这样被营造出来。郑维的作品又与流行图像有著视觉效果上的本质不同，他并不追求简单明瞭地说明一个问题或表达一种情绪，而只是呈现一种似是而非的结果或状态。在时下快速前进的社会中，新旧交替的速度令人目不暇接，郑维却选择了相反的方向，在回溯或近乎停滞的状态中寻找人类最永恒或者说最本质的状态，构建了一个空灵的异度空间。

Graduated from printmaking department in Central Academy of Fine Arts, Zheng Wei finds that the way he creates prints is not only his art style but also his creating theory. His wood carving shows the texture of oil painting, and a three-dimensional space was created when the metal penetrated the wooden board, what’s more, it ambiguously formed a tension between the space and the surface of art works. It finally reached undefined types of art with unprecedentedly complicated visual effects.

The figures of his works are always in unrealistic situations. Their simplified and deliberately decorated faces can be only identified by the clothing, movements, and surrounding environment. It finally creates the specific and vague atmosphere. Zheng Wei’s art works are substantially different from pop images. He presents an ambiguous effect or state instead of explaining a question easily or just expressing an emotion. In the fast-moving society where transitions keep happening at the dazzling speed, Zheng Wei runs away from it and searches for the eternal qualities of human in a state of traceback or standstill, constructing an inner senses of emptiness.