Zheng 196 1 was born in Shanghai and began to learn calligraphy at the age of 12. Later, he entered the famous Chinese Painting Department of Hangzhou Zhejiang Academy of Fine Arts (now China Academy of Fine Arts) to study traditional ink painting, specializing in figure painting. Before leaving China, Zheng Chongbin's artistic creation was full of anti-tradition, and he devoted himself to getting rid of the traditional language mode of ink painting, thus devoting himself to various forms of variation and the expansion of the material language of ink painting. Then expand the vocabulary and expression intensity of contemporary ink painting. After arriving in the United States, Zheng Chongbin no longer used ink as a medium, but studied conceptual art, performing art and installation art at the San Francisco Art Institute. His observation of California sunshine was influenced by California light and space movement artists such as James T (b1943) [b1943], Roberti Wen (b1928) and Doug Weiler (b1939). These artists pay great attention to the language and perception phenomena of art itself, including the visual transformation of light, volume and proportion, the displacement of space and the use of transparent, translucent or reflective materials to enhance the audience's feeling and experience of light. Zheng Chongbin pays attention to the above-mentioned fields, so his artistic creation presents the diversification of painting language, from the characteristics of ink painting itself to the extension of ideas, from tradition to contemporary, which can be described as extensive and diverse.
Chinese name: Zheng Chongbin
Nationality: USA
Ethnic group: Han nationality
Place of birth: Shanghai
Date of birth: 196 1
Occupation: artist
Graduate schools: China Academy of Fine Arts and San Francisco Art Institute.
Major achievements: International Scholar Award of San Francisco Art Institute
Xianrui series won the annual art award.
Representative works: mirror, oblique shape and oblique light.
Gender: male
Creative style
The hue and translucency of artist Zheng Chongbin's works are related to the aesthetics of ink painting, a traditional medium, and its charm lasts forever. The materiality of ink is characterized by dim and bright color and texture, which has become a contemporary material. The luster of the work itself seems to be a halo in dim light; The light and shadow in the picture are changeable and the momentum is extraordinary; Geometric figures are endowed with subtle emotions, that is, within the definition of boundaries, they are ingenious outside; The artist presents and treats the work as an object, and the rice paper is mounted outside the wooden frame, so that the work is integrated with the space it belongs to. Zheng Chongbin's works are basically flat and have no effect on the environment. However, the tactile sensation of the surface of black-and-white ink painting with ever-changing colors fluctuates back and forth between opacity and flicker, which not only deeply attracts the attention of the audience, but also extends and even cuts the external environment, allowing the audience to wander between the observed object and environmental perception.
For the painter, it is a natural decision to return to ink painting and his familiar medium-ink painting. Zheng Chongbin was attracted by ink as a material with its material characteristics and related transparency, opacity, permeability, touch, volume, capacity and even gravity. He also saw the potential of taking this medium as the theme in the cultural attribute of ink painting. Zheng Chongbin's unique mixed visual language is the product of his personal experience and his mastery of the relationship between light and ink-the materiality of light originated in California, and his understanding of ink as a medium shows us his example of thinking about the cultural duality of two continents.
Solo Exhibitions
20/kloc-the possession of 0/3 objects-Zheng Chongbin and his ink scale, Mo Zhai Gallery.
20 12
Light/Ink-Zheng solo exhibition, asia art center, Beijing.
Amorphous geometry, Valentin Wiley Art Museum, Singapore.
Ink and wash-perception as an image, Frodo Peter Gallery, Hamburg
White painting and black wall, Hong Kong Arts Center, Hong Kong
20 1 1
Bai Mo, Cultural Center of San Francisco China Cultural Foundation.
Mo Wen, Ipdo Gallery, Hongkong.
Power and Meaning, Hans Gallery, San Francisco
20 10 shows up —— Zheng Chongbin's solo exhibition of ink and installation, Valentine Art Museum, Singapore.
1997 Modern Ink and Wash Exhibition, Lin Gallery, San Francisco.
1990 Humanities and Art of Montgomery Art Museum in San Francisco.
1989 Mo, Bruce Vanlick Gallery, San Francisco.
1988 Zheng Chongbin's solo exhibition of abstract ink and wash, Shanghai Art Museum, Shanghai
Group exhibition
20 13
The 55th Venice Biennale is a large-scale independent project in China-a parallel exhibition of culture, spirit and generations, Mola Palace in Venice.
Reading Ink and Wash-China Contemporary Ink and Wash Exhibition, new york Christie's Auction Company.
20 12
Ink and Wash-China Art, Saatchi Gallery, London.
Modernity in the Age of Empire, Albert University Museum, Edmonton.
20 1 1
Vivid and contrasting window art gallery, Shanghai
Xuan Yan, Shenhu Gallery, Shanghai
20 10
Shanghai Zendai Contemporary Art Exhibition Hall Opening Exhibition
Contemporary Ink Painting in Lexington Moran Art Center
Symbol code of ink painting, the third contemporary ink painting biennale in Taipei, Taipei
Shanghai, San Francisco Asian Art Museum, San Francisco
2009
Time and space longitude and latitude, Shanghai 20 10 art center, Shanghai.
Shanghai nan' an art center
Graffiti Art: Artistic Writing in Modern China and Latin America, Asia Pacific Museum, Pasadena, LA.
Ink and wash now, Shanghai Duolun Modern Art Museum, Shanghai
2008
Busan International Modern Ink and Wash Art Exhibition, Busan
265438+20th Century Contemporary Ink and Wash Academic Exhibition, China National Painting Academy, Beijing.
Contemporary Ink and Wash Exhibition, Mingyuan Art Center, Shanghai
Restarted in 2007, Chengdu Ink and Wash Biennale, Chengdu.
2006 Ink and Wash Exhibition, Michael Martin Gallery, San Francisco.
2005 Ink and Wash Exhibition, Michael Martin Gallery, San Francisco.
Dialogue 2003, Michael Martin Gallery, Dallas
2002
Ink painting exhibition, San Francisco International Art Fair, San Francisco
San Francisco Michael Martin Gallery Ink Painting Exhibition.
200 1 Ink Painting Exhibition, Michael Martin Gallery, San Francisco.
1999 Ink Painting Exhibition, China Culture and Art Center, San Francisco.
1996m/ snail/pigeon installation exhibition, San Francisco Marion Gallery.
1995
Perception/Embodiment/Orientation, Concord Art Center, Concord
New york Bronx Art Museum Rice Installation Exhibition.
1994
San Francisco Studio 69 Asia/America/Asia Installation Exhibition
Cultural orientation and immigration-1Changes in the United States in the 1990s, California Institute of Technology/Oliver Art Center, Oakland.
1993
Behind the words, San Jose Center for Modern Art, San Jose
San Francisco Studio 69 Six-person Installation Exhibition
Metaphysics of things, Steven Waltz Gallery, San Francisco.
1987 Modern Chinese Painting Exhibition, Osaka Art Museum, Osaka.
1985 China Young Artists Exhibition, China Art Museum, Beijing.