Contemporary Chinese Ink Art
1977 Bornin Hunan province
2002 Graduatedfrom Traditional Chinese Painting Department of Sichuan Academy of Fine Arts with a bachelor´s degree
Currently works and lives in Xiamen and Beijing
Redefining the Tradition –Chen Jun Solo Exhibition, Mingtai Space, Beijing
City in Yesterday, 798 TimesSpace Haixi Division, Xiamen
In his “Urban Landscape” series, Chen Jun reconstructed the classic schema of traditional Chinese landscape painting by replacing the lines and the concept of “cun”or “texture wrinkles” in traditional Chinese painting with brightly-coloredspots mixed with brand logos. Having covered the natural landscape that has existed maybe for centuries, these colorful dots, along with the logos of BMW,Coca Cola, etc.,
It is evident that, through the juxtaposition of modern creation and its archetype of ancient classics, the rigid brushwork and magnificent atmosphere of Northern-Song landscape painting(as shown in the renowned Northern Song painter Li Tang’s “Whispering Pines inthe Mountains” which is the archetype for Chen’s “Classics·Contemporary No. 9”), as well as the literati characters such as serenity and tranquility in Yuan-dynasty painting (as conveyed in the artworks by the famous Yuan-dynasty literatipainter Ni Zan, which were adopted as
In Hang’s series “Manual for Identifying Butterflies”, his paintings, which were made into horizontal or vertical scrolls, were later mounted in fames to be displayed as image. What serve as anintegral part of the entire image are the butterfly specimen, together with the inscribed explanatory texts adopted from the encyclopedia about each variety of butterflies.
1977 Born in Heze,Shangdong Province, China
2000 Graduated from the Department of Traditional Chinese Painting, Tianjin Academy of Fine Arts with a bachelor's degree
2014 Graduated from the Capital Normal University with a master’s degree
Now lives and works in Beijing and Wuhan
In his series of “Landscape” with the piece “Distant Mountains” as the representative, Hao also reconstructed the landscape based on reference to classic landscape paintings with the “double-line” technique, namely, outlining the subject with double ink lines first and then filling in colors, a technique widely-used in fine-brushwork birds & flowers painting as well as copying calligraphy.
This orientation of abstraction as well as Hao’s perception of ancient Chinese time and space is unveiled in his series themed on Chinese calligraphy. In his eyes, the trajectory of the brush inspace before it rests on paper, rather than the final strokes it creates on paper, is worthy of study. Thanks to his “double-line” technique, a morethree-dimensional structure composed of strips has replaced the originalstrokes consisting of simple lines, giving a clearer picture of relations suchas preceding & following, or intertwining, among strokes.
1989 Born in Chengdu, Sichuan Province.
2012 BFA in Chinese Painting Department, SichuanFine Arts Institute
This is the case in her work “Spy No.1” displayed at this exhibition. Composed of a foreground with two curio stones on the desk, as a reflection on the refined literati hobby of appreciating antiques and curios, and a background showing a vague view of part of an erotic painting along with projected shadows of the two stones, revealing the secret innermost desires of human beings, the artwork unveils the complicated yet subtle relationship between image and semantics, presenting the outward show and the inward essence of human desire in a typically-oriental implicit way.
The brightly-colored paintings featuringpop art by Peng Jian are also based on the artist’s unique understanding of and reference to traditional Chinese culture. In his piece “Empty Room”, the most representative one of his earlier series, the books on the desk, and the Four Treasures of the Study along with relevant curios displayed in the room imply the connection of this piece with traditional culture, although both the buildings outside the window and the decoration of the room indicate that this is a study in modern times. The semi-transparent screen window that separates the tranquil study which symbolizes the artist’s longing for classic ancient life from the noisy urban streets seems to be of metaphor.
This orientation of abstraction as well as Hao’s perception of ancient Chinese time and space is unveiled in his series themed on Chinese calligraphy. In his eyes, the trajectory of the brush in space before it rests on paper, rather than the final strokes it creates on paper, is worthy of study. Thanks to his “double-line” technique, a morethree-dimensional structure composed of strips has replaced the originalstrokes consisting of simple lines, giving a clearer picture of relations suchas preceding & following, or intertwining, among strokes.
1975 Born in Harbin, Heilongjiang Province
2000 BFA in Chinese painting Department, Central Academy of Fine Arts
2003 MFA in Chinese painting Department, Central Academy of Fine Arts
Currently teaches at Chinese Painting Department of Central Academy of Fine Arts
Xu has made new attempts in his recentpiece “Featherlight No.2”, illustrating in a large-sized painting the back of anadolescent girl, which looks as standing seen from a distance but floating as indicated by the posture of her feet when watched closely. The artist has successfully conveyed complicated meanings through a simple visual construction based on the viewers’ different perceptions of partial sections and the whole image.
In her series of “Painting of silk”,the delicate lace and the embroidery needle are all implying the presence of a female subject though there are no concrete figures in the image. The piece“Paintingof silk 8”, the purest one of this series, is an apposite example of creating astrong presence of a female by illustrating nothing but lace-like patterns in the image.
Xu has unveiled the state of females at ease beyond the sight of males in an intimate female perspective by replacing human silhouettes with multi-layered renderingin transparent water-based pigments, contributing to adistinctive visual experience different from either traditional Chinese or western paintings. Her piece “Aroma 2015 No.1” is a representative example of such techniques.
Curators: Betty Lutyens-Humfrey Chen Lin
Academic Director: Zhao Li
Artists: Chen Jun Hang Chunhui Hao Shiming Ma Lingli Peng Jian Xu Hualing
Online Editor:Cai Congqian
Panel talk：7th Sep 2016 5pm.
Opening: 7th Sep 2016 6:30pm.
Duration: 7th – 13th Sep, 2016
Venue: Royal College of Art Gallery
Organiser： Z ART
Co-organisers: East & West Fine Art Consulting, London
Ningbo Qianzimu investment management partnership
Academic Support: Chinese Modern & Contemporary Art Document Research Center Art Nova 100