CHEERS WITH INK

“If I were to turn my timeline into a plane, the artwork would be about picking up those sparkling parts. It’s not about me; it’s a stage of this person, a sincere portrayal of this stage. Then, excitedly, I fill her with unknown scenes. It’s neither an escape to a comfortable place nor a portrayal that remains the same. I believe that everything should be endowed with a deeper meaning, something to immerse oneself in. When I put down the brush and return to reality, it feels like the timid me has found a companion to stand alongside in this vast world, like the dazzling light shining through the seams of clouds in the sky.” – Liu Ting

Depicting the Beauty of Women with Gentle Ink Wash

Born in Jinan, Shandong in 1983, Liu Ting embarked on her artistic journey by graduating from the Department of Traditional Chinese Painting at Shandong Academy of Arts in 2006. Beyond academic pursuits, she enriched her creative path as an art editor for a Xi’an magazine before settling in Jinan as a full-time artist.

Liu Ting’s artistic inclination traces back to her childhood, where she passionately portrayed fairies, wheat fields, and small animals. Untethered by formal education, her artistic expression became a natural, uninhibited activity. Liu Ting’s unrestrained approach, reminiscent of a child’s whimsy, remains a defining feature in her works, even after formal training at the academy.

Ink Mastery Unleashed: Blending Tradition with Contemporary Perspectives

With formal training enhancing her innate creativity, Liu Ting mastered versatile brush and ink techniques. Her artworks reflect a synthesis of formal education and an unbridled, imaginative spirit.

Liu Ting’s expertise lies in using ink to portray plump and rounded girls on rice paper. Through unconventional ink strokes, she breathes life into her characters, making them three-dimensional and vibrant. Fuelled by a rich imagination, these girls, adorned with sacred white hair and dressed in simplicity, embody a return to nature. Liu Ting’s gentle ink strokes aptly capture the timeless beauty of femininity.

Liu Ting leverages traditional methods to express contemporary perspectives. Her adept use of ink techniques has garnered widespread attention, earning her a place in solo and group exhibitions. In 2018, she represented China in the Blurred Boundaries Sino-American Artists Joint Exhibition at the Metropolitan Museum of Art in New York.

Little Happiness, 2022, Ink on Rice Paper, 67cm x 72cm

Bubbles, 2021, Ink on Rice Paper, 81cm x 102cm

Form of Love 1, 2022, Ink on Rice Paper, 132cm x 68cm

Tranquil Brushstrokes: Murmurs of Expression

“Growing up in an artistic environment, both my parents being sculptors, curiosity has been a constant companion since my early days. The perennial questions of “What is it?” and “Why?” flowed naturally, and my parents, with infinite patience, answered, delving into discussions about materials, images, and expressions laden with symbolic or metaphorical spiritual meaning. In my innocence, a profound curiosity and attentiveness to images and their implications took root.

Drawing inspiration from René Magritte’s profound statement, “Everything we see hides another thing; we always want to see what is hidden by what we see,” my professional journey has been marked by an increasing desire to express and question the visible and concealed aspects, images, and their broader implications. I ventured into using the techniques I had mastered to convey my narratives.

Chinese painting, a deeply personal form of expression, is inherently implicit and profound. Positioned within a historical context, Chinese literati painting represents a transformation of the humanistic spirit—a way for creators to externalise their quest for an ideal inner world, steering clear of a straightforward portrayal of real-life. In aligning with these creative ideals, my pursuit is reflected, albeit with a technique deeply rooted in the traditional Chinese meticulous painting method of “three minerals and nine dyes.” While it may lack the unrestrained joy of “casual brushwork for self-amusement,” in a tranquil state, the subtle rendering between brushstrokes becomes akin to murmuring to oneself—a delicate flow of expression that evolves and develops.” – Chen Hanqing

Sculpting Artistry, Crafting Tradition

Born in Yongchun, Fujian, in 1996, Chen Hanqing inherited the artistry of sculpture from his father, Mr. Chen Rongchun. Graduating from the Flowers and Birds Painting major at the Tianjin Academy of Fine Arts in 2020, he continued his studies as a master’s candidate in the Academy of Chinese Painting. Chen is a participant in the National Young Talent Painter Training Program and a member of prestigious art institutions, including the Li Keran Art Institute and Dalian Art Academy.

As Shadows, Heart Fluttering, 2023, Ink and Colour on Silk, 160cm x 120cm

Unknown Dream Other Mountains, 2023, Dehua porcelain, H42cm

Singing Spring, 2020, Ink and Colour on Silk, 50cm x 24cm

Ink Reflections: Discovering Truths through Artistic Expression

“I choose ink as my painting medium because in ink painting, I can see myself more clearly. I can absorb the nutrients of traditional brush and ink language while creating a distance from traditional painting in my work. What I express extends from myself to a certain way of life for some people today. I hope that when people see my paintings, they can resonate with me.

I enjoy painting children because I can sense my inner self during the creative process—the curiosity and the spirit of exploration that is brave and eager. Compared to people nowadays, who often present their most glamorous side to the outside world, they tend to conceal the truth within. Exploring how to tell this truth is the essence I want to discover. Everyone has their own deep thoughts or content they want to express, and how to communicate that to the outside world—I use images to present it. Although subtle, interpreting myself this way gives me great pleasure.

In the process of ink creation, the initial concept changes with the progress of the painting, and the final image often differs from the initial idea. In addition, ink has subtle uncontrollability, such as the ink freely flowing on the paper. The medium’s personality interacts with me during the painting process, keeping me excited while painting. The relationship with the materials allows me to exert more control over the composition until the final completion. Painting creation is a process of communication with oneself. How to face oneself truthfully is the most important, and it will directly reflect in the artwork. Any hint of artificiality will make it appear insincere.” – Pang Xiaochen

Enjoys the Uncontrollable Subtlety of Ink Freely Flowing on Paper

Born in Cangzhou, Hebei in 1990, Pang Xiaochen graduated from the High School Affiliated to the Central Academy of Fine Arts in 2010, and obtained a bachelor’s degree from the Central Academy of Fine Arts in 2014. In 2018, he completed his master’s degree at the Central Academy of Fine Arts. Currently pursuing a Ph.D. in Fine Arts at the Communication University of China, he is also a young artist at the Li Keran Art Institute. Pang Xiaochen works and lives in Beijing.

Infinity, 2019, Ink on paper, 61cm x 68cm

Morning in Cesky Krumlov, 2019, Ink on paper, 64cm x 104cm

Liu Hai, 2021, Ink on paper, 60cm x 120cm