Artist: SHEN Shu Bin
Born in Shanxi Province, China in 1978, Artist Shen Shu Bin graduated with a Bachelor’s degree from Shanxi University’s College of Fine Arts, and obtained a Master’s degree in Oil Painting from Tianjin Academy of Fine Arts. Currently teaching at university, Shen Shu Bin and his paintings have received unparalleled recognition, with exhibitions held in China, Singapore, and Germany. His outstanding pieces won him the recognition of China’s Top Talented & Outstanding Youths in Arts in 2015.
Artist Shen Shu Bin epitomizes the concept of Chinese avant-garde art. Although initially an art form derived from the studios and minds of Western artists. He uses rational thought as his main inspiration and he constantly lays aside personal emotion to ponder upon the bigger picture about how society is developing through his creations.
For the series of Light, the artist presented “empty souls” that the characters in his paintings were numbly living a life baffled by loss of meaning. For the series of Adorable Happiness, the artist temporary abandoned his usual inspiration from the current issue of the society with rebellious but focuses on more of the joy that he experienced, as a Father. The charming use of colours and adorable little animals were the topic of his creation.
For the series of his latest creations, Rebirth on the Road of Pilgrimage, the artists expanded his exploration from individual-society to profound connections between humanity and nature. In his paintings, the animals, with either pure natural spirit or human-like emotions, exuberantly searching for an unknown path of spiritual significance and harmony.
Major Public Exhibitions in Recent Years (Selected):
Concepts of Artwork:
Shen Shu Bin’s artwork utilizes magical realism representation to express fictional thinking and philosophical reflection of the society and environment connected to an individual. In early stage of his career, the artist explored to reflect individual’s confusion and distress caused by the collision between ideal and reality, which further resulted in conflicts and absurdity across the society. While observing individual’s anxiety and inability to reconcile under a sense of lost, the artist imaged a disordered world where the matter and spirit meaning was destroyed. “How mankind, who inherited animal spirit, will react” becomes the question conveyed through the paintings.
Luck of the Fortune Teller
200x140cm, Oil on Canvas, 2010
In the painting, the middle-class young individuals are not being elegant at all; material abundance does not mean the peace of mind. From time to time, the individuals are standing and swing between reality and uncertainty, between trust and suspicion. Not knowing where to go, betting on luck seems to be the best option.
250x180cm, Oil on Canvas, 2011
The young man in the painting is baffled by the conflicts between ideal and reality; he gets lost in clues. Powerless to rescue himself, he is left behind and watching the absurd changes around him numbly. “Hide away, or accept”, he whispers.
Not in Absence No.2
200x140cm, Oil on Canvas, 2011
Create, construct, while destroying, depriving. Acting as an outsider, leisurely watching the changing landscape. Silent conspirator, everyone inevitably became a participant.
Far-Away Home No.3
100x80cm, Oil on Canvas, 2013
From this series, the artist abandoned actual image of mankind in his paintings; instead, image of animals was used to metaphorize the animal spirit in human emotion and humanity. In a world with aftermath of an unknown catastrophe, animals lost their homeland - facing the devastating scenes and uncertain future - wander in memories, or cheer up for new life?
Noah's Ark No.4
200x140cm, Oil on Canvas, 2015
In this series, the artist illustrated context of Noah’s Ark - floating in the wilderness and the sea, salvation or redemption, animals boarded Noah's Ark. Not panic, may be wishful, to the unknown or a new world.
Illusory Carnival No.9
150x100cm, Oil on Canvas, 2016
In this series, the artist used image of animals to metaphorize mankind who lost intellectual ideology and motivation. Regardless of past and future, animals held endless luxurious parties with an illusory feeling of life.
About the Shape of Will No.2
200x150cm, Oil on Canvas, 2017
In this series, while illustrating image of animals as the presentation, the artist further explored philosophical thinking, including but not limited to, individual and group, restraint and freedom, withdrawal and pursuit. In the paintings, the animals might be subliminally influenced by external will and subsequently formed into shapes of representation, which indistinctly reflected the individual’s intentional or unintentional unconscious in a group.
Tower of Babel
380x260cm, Oil on Canvas, 2017
In this painting, the artist illustrated the context of Origin myth with animals trying to form a tower tall enough to reach the heaven. It leaves imagination to the audience – will animals, as pure and united, to achieve, or as confounded and distrustful, to fail?
60x60cm, Oil on Canvas, 2017
The series of Embrace, with 20 pieces of paintings, captured the artist’s aspiration to make the world a better place. Animals in the paintings were embracing each other delightfully, convey the feelings of care, reconciliation, and hope beautifully and compassionately.
Artist: LI Jing
Born in Shanxi Province, China in 1980, Artist LI Jing graduated with a Bachelor’s degree from Shanxi University’s College of Fine Arts, and obtained a Master’s degree in Oil Painting from Tianjin Academy of Fine Arts. LI Jing is one of the younger generation of Chinese artists who are more focusing on exploring and reflecting personal experience and individual's life, without much touch on social dynamics.
LI Jing's artworks are "sort of" imagination of dialogue to inner self, in solitude. In his stilleben-like, dark-toned paintings, the symbolic red-nose characters live in mingled eras, boundaries of time and presence are blurred. In their composure, one cannot really tell whether the characters are with utopian-like tranquility or they are just "life is elsewhere". They seem to be talking to the audience silently, making the audience immerse into the artist's hidden story.
Major Public Exhibitions in Recent Years (Selected):
100x100cm, Acrylic on Canvas, 2018
Time Stands Still 1917
100x100cm, Acrylic on Canvas, 2017
All the Best
100x100cm, Acrylic on Canvas, 2016
Artist: WANG Xiao Shuang
Born in Hebei Province, China in 1991, Artist WANG Xiao Shuang graduated with a Bachelor’s degree in Oil Painting from Xi'an Academy of Fine Arts, and obtained a Master’s degree in Oil Painting from College of Fine Arts of Shanghai University. The artist uses the medium oil painting to explore metropolitan themes from the eye of younger generation. With titles like Urban Boundary, Invisible City, and Urban Language, his series of grey cityscapes evoke the infinitesimal repetition and anonymity of urban sprawl.
The artist’s work has been presented in various solo exhibitions, including “Urban Landscape” at Galerie Diane de Polignac (Paris), “Sample of Time” at Chimney Art Centre (Shanghai), and in group exhibitions at institutions such as New Art Museum in Shanghai, Peninsula Art Museum in Shanghai, Imperial City Art Museum in Beijing, Ningbo Contemporary Art Museum, and Livingston Art Exchange Centre.
Invisible City No.24
200 x 130 cm, Oil on Canvas, 2018
Artist: LI Min
Artist LI Min was born in Shanxi Province, China and graduated with a Bachelor’s degree in Oil Painting from College of Fine Arts of Shanxi University in 1982. Since then, Li Min started his art journey in exploring painting technics from both Western and Eastern, with mentoring from iconic Chinese painter Liu Hai Su and Chen Da Yu. LI Min moved to Los Angeles in 1992; the tranquil and artistic sceneries from his ink art works have won the artist great recognition as innovating and reviving contemporary ink art from tradition.
With an Orchid
138 x 68 cm, Ink on Paper, 2017
138 x 68 cm, Ink on Paper, 2017
Artist: WANG Yazhong
Artist WANG Yazhong was born in 1962 in Shanxi, China and graduated from Tianjin Academy of Fine Art with degree of Oil Painting in 1984.
Wang’s non-figurative oil painting largely embraces vibrant color and geometric elements; the creating process explores concepts of “deconstruction” and “reconstruction”. “Deconstruction” is where Wang abstracts his decades of life journey and philosophies into symbolic elements of what matters. “Reconstruction” is where Wang captures spontaneity and randomness at the moment of creation. Above characteristics give Wang’s works a unique sense of presence.
Wang was a founding member of large-scale art exhibition “Taiyuan Contemporary Art” in 1985 and “Village Art Tour” in 1993. During his stay in U.S. in 1990s, Wang was awarded the Yale University Gallery/Andrea Frank Foundation grants. In recent years, Wang has been a major member of New Knight Art Association, ISBN Art Creations, and Ca-Ca Art. Wang’s vision and experimental spirit made him a highly acknowledged contributor in local contemporary art community.
Nothing Decays No.3
120 x 90 cm, Oil On Canvas, 2019
Nothing Decays No.1
120 x 90 cm, Oil on Canvas, 2019
Nothing Decays No.7
90 x 60 cm, Oil on Canvas, 2019
Artist: ZHANG Chaorui /DaDa.Ryan
Artist ZHANG Chaorui (DaDa.Ryan) was born in 1974 in Shanxi, China and graduated from Taiyuan Normal University majored in Education of Art.
DaDa Ryan’s art practice is featured by his original creation of world’s first clustering-group art and luminous art. He is an active member of contemporary art community, is a leading member of New Knight Art Association and is the founder of CaCa Art Association. His works are widely collected by individuals and institutions.
Clustering-group art is inspired by the mysteries of movable typography: clay engraving, ink coloring, arranging, and reverse printing, as well as inspired by the ethereal gestures of sea creatures dancing and swaying with the waves. Of the four elements, "cluster", "repetition" and "color" can be felt visually in the installation work, while "wobbling" is from both within and outside the work: the interchangeable combinations of clusters within the installation are constantly forming new images, and the viewer outside the installation is constantly capturing new scenes through changes in viewing angles.
Clustering-group art expresses the concept of collective standing, searching for linkage between light and shadow beyond the inherent colors, reflecting the invisible interactions and influences among individuals, and as an energy body, weaving the diversity of connections and sensations together, projecting to the splendid future space and time.
61 x 47 cm, Installation Photography, 2020
47 x 61 cm, Installation Photography, 2020
Partial View, Installation