Zou Shiquan 

B. 1965

Zou Shiquan is a visiting scholar at Newcastle University, a visiting professor at the College of Chinese & Asian Arts and a professor at the Tuscany Art Academy in Italy for the China Region.
Published Books
《Techniques for Sketching and Still Life 》by Sichuan Fine Arts Publishing House Company Limited
《Playing with paper-cuts》Book set by Sichuan Children’s Publishing House
 Major Awards
2018 Sichuan Advanced Individual Award of Art and Design
2016 Won Second Award at The Second Bashu International Art exhibition.

Read More: Shiquan Zou: Illusionary Reality

Fu Chunmei 

She graduated from the fine arts department of Northeast Normal University in 1997. In 1998, she finished research course of ‘Flower and Bird’ in Chinese painting department of Central Academy of Fine Art. In 2002, she completed ‘Fine Brush work with enrich colours’ course in Central Academy of Fine Art.  She is the member of Chinese Artists’ Association and Fine Brush Artists’ Association. 

More information about my work, please click link : My Blog

Liu Jing

Work Experience

2012-Recent    Lecturer, Director of  Formative Arts, Changsha Normal University, ChangSha,HuNan Province,China.

2006-2009     Teacher, Drawing and Printmaking,ChangSha Normal College, ChangSha,HuNan Province,China.

Education         

2009-2012               MA,ShenZhen University,ShenZhen, GuangDong Province,China 

09/2011-12/2011    Exchange Student,University of Presov,Presov,Slovakia

2001-2005              BA, Xi’An Academy Of Fine Arts, Xi’An, ShaanXi Province, China.

07/2016  -08/2016  Summer Workshop,Tamarind Institute,New Mexico,USA.

Invitations as Visiting Artist 

1. Trilobite Printmaking Studio, Olympia,USA.

2013     Trilobite Printmaking Studio, Olympia,USA.

Professional/community Experience

Secretary of Printmaking Committee of HuNan Artists Association.

Member of the Exlibris Committee of China Artists Association.

Fellow of Mix-Media Painting Committee of HuNan Artists Association.

Selected Awards and Grants

2018         2nd Prize,3rd Woodblock Printing Awards,The Muban Educational Trust,UK.

2017        Award Of Excellence,2017China-South Asia and Southeast Asia International 

Art Exhibition ,Kun Ming,China.

2016           National Art Fund 2016,China.

2016          Golden Prize,13th Provincial College Art Exhibition,Changsha, China.

2014         Award Of Excellence,12^th Provincial Fine Arts Exhibition,Changsha,China.

2012          Award Of Excellence, 14th  National  Exlibris and Mini-prints 

Exhibition, Dongguan,China.

2011         Award Of Excellence, 2nd National Youth Mini-prints Exhibition, 

Dongguan,China.

2010         Award Of Excellence, 1^st  Guangzhou International Exlibris and Mini-prints

Biennale Exhibition,GuangZhou,China.

2009       Award Of Excellence, 1^st National Youth Mini-prints Exhibition, BinZhou,China.

2008 Award Of Excellence, 1^st  Exhibition Of College Teachers’  Works ,ChangSha,China.

2004      Award Of Excellence, Shaanxi Provincial Art Exhibition, Xi’An,China.

Jiao Xingtao

Jiao Xingtao is a widely exhibited Chinese sculptor. His most recent work is conceptual, a comment on the consumerist excesses of today’s society. He transforms objects—often packaging, such as a discarded Hermès box—with scale and fibre glass to make pieces of  statement art.

Chen Qi

(b. 1963)

Water Series: Chen Qi’s expressions of water are quite risky and daring. There is no normal visual center in the picture, just the undulation of the ripples rendered in light and dark. But this really is water, the water we see, drink and wash with every day, the waters of the North Sea in Chuang Tzu’s Aimless Wandering, the water that Confucius sighed about when he faced the river, the water that in ancient Greek philosophy could never be stepped in twice. It has no set appearance. In nature, water is both the most abstract and the most concrete material. It is, in and of itself, a metaphor for change, and a metaphor for time. Time passes swiftly like flowing water. What flows in this work is the mark of time.

Chen Long 陈龙

(b. 1971)

My works embody both traditional and contemporary elements, which is the principle purpose of the work while technique is the indispensable mode to manifest the meanings. The process of searching for the right way to express is more important than the final product, but both follow the same goal, to bear contemporary relevance. The closer art is to life, the more will it reflect the conflicts in life and the stronger is the impulse to conquer the various conflicts in collective unconsciousness. Everything is right there. In the process of reproduction to representation, we must feel it as real in order to create the sense of satisfaction and trust, and thus must make it more real than reality. This sense of realness can be taken as the natural state deep in human beings or the thirst for restoration to that natural state. Truthfulness turns to an ideal state, or a sense of rebirth which is not the least repressed. With this in mind, I transform images from reality to fit a certain idea of representation, that is, to push their potential to extreme from the basis of realism. In the search for meaning, motifs may arise from nowhere, or seem far from reality. However, to represent with virtual and fantastic techniques makes it easier to portray certain real objects purely and meet the public aesthetic cognisance and taste. Out of my own need, I create artistic images and subtly empower them with cognitive significance in the process, which will transcend visual images, probe into the nature of reality, purify it and thus enter the free world of creativity. In fact, only when we go beyond individuality can our works be enjoyed by more people. Vision and fantasy come from the enlightened and cast individuality. They melt into the law of development in reality, which follows the rein of history, and in turn becomes history. It is on such kind of metamorphosed reality that the fate of my art and of me stands.

My Blog

Wang Chao

School Education

B. A. (1998, China Academy of Arts), M. A. (2007, China Academy of Arts).

Career

Wang Chao studied printmaking at the China Academy of Arts and graduated with both B. A. and M. A. Degrees. He is presently an associated professor in the Academy and director of its noted Purple Bamboo Studio. He won the Fukuoka Art Museum prize in 1998 and has received numerous awards at provincial and national exhibitions. Wang’s work has been collected by the leading museums in China, Europe and the USA.

Work description

Wang makes multiple allusions to the past in both technique and in subject matter. The fine lines, refined colouring and subtle tonalities are reminiscent of illustrative printing from the Ming and Qing periods and Japanese surimono. Reflecting the ‘new literati’ interest in traditional culture that emerged in the post-Mao period, his subjects are often a witty contemporary take on historical visual and literary genres.

Wei Jia 

b.1975

Wei Jia was born in Chengdu, Sichuan, China. Having graduated from the Print Making Department of the Central Academy of Fine Arts in Beijing in 1999, he currently teaches in the Sichuan Fine Arts Institute and lives in Chongqing. During his studies in the Central Academy, he has already won several important awards in printmaking before shifting to oil painting as his focus. By fully expressing the immature feelings of youth, Wei Jia’s former work has become a favourite for the viewer, making him one of the representative contemporary Chinese artists born in the 1970s. His current work remains focused on one’s inner side.
As he grows older, it expands his vision to include his feelings with others and groups in society. Wei Jia’s paintings were packed with skilful techniques while a specific painting language, such as the sense of colour, exploited the feel of hand to express further prospects. They explore one’s spiritual side with subtle sentiments, attracting continuous attention from the viewer.

Wei Jia C.V

Wuon Gean Ho

Wuon-Gean Ho works in print, artist’s books and film, and has exhibited widely in juried, invited and solo shows for the past 20 years. She trained in water-based woodblock printmaking in Japan in 2000, and gained a distinction for her masters in Printmaking from the Royal College of Art. As a designer, she works on various projects including The UK Royal Mint Chinese Lunar calendar series of coins for 2014–26. As a writer, she is the news editor and regular author for the magazine Printmaking Today. In 2009 and 2011 she curated the 2^nd and 3^rd International Printmaking Festival in Qijiang, Chongqing, China. She has been teaching printmaking since 2007 in London, Italy, USA and China, and is currently working as a print fellow in the Royal Academy Schools, London.

Selected Residencies

2017 Atelier Presse Papier, Canada, residency and solo show

2017 Crow’s Shadow Institute of the Arts, USA, collaborative publishing project

2013 Portland Chinese Classical Garden, USA, artist residency

2011 Opificio della Rosa, Montefiore Conca, Italy, artist residency

2010 Bluecoat Arts Centre, Liverpool, artist residency

2007 Sitka Center for Arts and Ecology, USA, artist residency

Selected Awards 

2017 Award Presse Papier, Biennale Internationale d’Estampe Contemporaine de Trois- Rivières, Quebec, Canada

2014 First Prize for Books of Desire, Classense Library, Ravenna, Italy

2014 British Institution Award at the Royal Academy Summer show 

2010 Birgit Skiöld Memorial Trust Artist Book award

Selected Conferences

2015 Southern Graphics Council International Conference Tennessee, USA, 

Portfolio curator and organizer, Topic: Distortion. Panel Chair, Topic: Distortion

2013 IMPACT 8 Dundee: Unending Forest, solo show installation of prints and 

books. IMPACT 8 Dundee: Shift, solo show installation of 72 prints 

2012 40th Southern Graphics Council International Conference, invited  

International panelist, New Orleans, USA, Topic: Movement in Print

Selected Collections

British Museum, National Art Library, Tate Library, Victoria and Albert Museum

Kennesaw State University, University of Tennessee, University of Aberystwyth, Changsha Normal University

Xiang Silou

Yang Qi 杨起

b.1952 in Wuhu, China

1978-82 Bachelor of Arts at Normal University Anhui, China

1986-87 Lecturer of Department of Arts, Shanghai Normal University and working College of Fine Arts, Shanghai University

Curatorial assistant of exhibition with City University New York and Shanghai University

1987 Artist Lecturer Exchanging Programme at Hochschule der Künste (University of Arts) in Berlin through College of Fine Arts, Shanghai University

1990 Beginning of the further study for Ph.D. at Institute of Art History, Uni. Heidelberg

Lecturer of ancient Chinese ideograms during the study of Ph.D.

1991 Member of Professional Artist Association Germany

1996 Doctor of Philosophy at Institute of Art History, University Heidelberg, Germany

1999 Nominated as Professor by Academy of Arts, University of Anhui, China

2001 Curatorial collaborator der „Großen Ausstellung“ Düsseldorf

Juror of School Art Competition by Deutsche Telecom

2002Nominated as Juror for “Shanghai International Environment Art & Sculpture Expo”

Since 2003Visiting Professor of Free Art at the Academy of Fine Arts, Xi`an, China

2003-05Representative Professor of Free Painting at Bergisch University
in Wuppertal, Germany

2005-2014Advisor of Identity Foundation Germany

2006“Out of the Nothing”, Spiritual Summer Academy at Island Hombroich, Germany

Travel to the Yellow River and the North-West of China

2009Exchanging exhibition project with Malkasten Düsseldorf and Central Academy Beijing, China

2004-14 UNESCO-Art Projects in Frankfurt, Wittenberg, Weimar, Karlsruhe and Essen

2011Metaphysical Form of Ink Performance by “German Zen Festival”

Artist and curator for special project by Hunterkunst Nederland

2012 “Long-life learning” – Project of European Union, Luxembourg

Artist and Curator of 9.Shanghai Biennale – Düsseldorf  Pavilion

„Top Five“of 9. Shanghai Biennale – City Pavilions

2013 Vice- President of Adam Schall von Bell Science and Art Association

2014 Representative artist on the behalf of China for the donation of the artwork “UNICEF-Heart” for UNICEF in Germany

Artist and Co-curator of “German Neo-Expressionism and Abstract Figuration” at China Art Museum in Shanghai

2015 Juror of International Art Award “Protagonist” by Venice, Italy

Appointed as special Professor for Art Lectures at the Art Academy of Fine Arts, East China Normal University Shanghai

Nominated as artist of the year 2015 with the painting “The artist as hermit” by KFK Bremen, Germany

Artist Curator for Europe Art and Initiator of “Ceramic Symposium International”  in Dehua, China

Talk show “On National Art” by Shanghai TV and international Press with M. Luepertz, Qi Yang and Shi Dawei at China Art Museum Shanghai

Invitation to one-person show “Identity – From me to myself” at ARTtrium by The Ministry of the Interior and Kingdom Relations & The Ministry of Security and Justice, Den Haag, The Netherlands

Cooperative Initiator of the symposium „German-Chinese Urbane Art and Art Education” at Institute of Art Research Shanghai

2017 Nominated as Artist Researcher and Director of International Centre for Art Education at Li Keran Painting Academy in Beijing 

2019 International art project: Honorable to be invited to Art Valley by Visiting Artist Program of Tongji University and University of Southern California  

Nominated as Artist Researcher by the National Research Center of New Creative Culture, Fudan University Shanghai  

2020 Nominated for the Wolfgang Hahn Award – Contemporary Art Award International 

2021 Invitation to participation for “Personal Structures” as a part of Biennale in Venice 2022 

Lives and works in Düsseldorf, Germany

Zhu Jianhui 朱建辉

• Born in 1963 Jiangsu Province,China
• Graduated from Fine Arts Academy of Nantong University (China) in 1987,
• Certificated by Fine Arts Academy of China Center in 1996
• Member of the Chinese artists association
• Member of the Chinese printing association
• Chinese first printing court——President of Qidong printing court First Class National artist

Mu Beini 母贝旎

b.1983 Wuhan

2003: Graduated from the high school of Hubei Academy of Fine Arts

2007: BA from Hubei Academy of Fine Arts, Department of Fresco and Comprehensive Materials Painting

2011: MA from Niigata University in Japan, Department of Environmental Art Modern Art

Present: Lecture at the Printmaking department of Hubei Academy of Fine Arts

My Blog

Lu Zhi Ping 卢治平

b.1947 Shanghai

Lu Zhiping grew up in the countryside during the Cultural Revolution, and there, inspired by the beauty of rivers and mountains he began his life as a painter. Lu Zhiping employs the traditional Chinese ink painting method, but dilutes the colour focussing on black, white and grey. In China ink painting theory, there are five sub colours of ink, meaning different kinds of grey can replace different colours, and it will be not only rich but also more abstract and formal. Grey represents moderation, peaceful, gentleness, not overjoyed, nor overly sad. It is the colour to symbolise those people who are undisturbed either by favour or disgrace. It will give you sense of philosophy and metaphysical feeling and will make the picture quiet and peaceful as well. I repeatedly adjust the levels relations among black, white and grey, wishing to create the rhythm like music and poetry.

He Kun

Member of the Chinese Fine Artists Association,vice Chairman of Yunnan Provincial Fine Art Association, Vice Director of Chinese Printing Artists Studios Union, Vice Chairman of Simao literature and Art Union, Chairman of Simao Fine Art Association, Director of Simao Fine Art Creation and Exchange Base/Centre, Professional Artist of simao Culture Bureau.

Education:

In 1980, graduated from the Simao Teachers’ College.
In 1992, finished the further training/study at Chinese Central Academic of Fine Art.
In 1980, the designer of stage arts at the siamo Dian-opera Group.
Since 1991, he has been the professional artists in Simao.

National Awards:

2006 Received Yunnan Provincial Contribution Prize for Art & Literature
Received the Nominate Prize for ‘Yunnan Top Intelligence’
2005 Excellent Works Awards at the 17th National Print Art Works Exhibition for ‘The Song
of Yunnan Mountains’
2004 Excellent Works Awards at the 10th National Fine Arts Works Exhibition for the ‘The
Harvesting Land’
The First Prize at Yunnan Fine Art Works Exhibition
Received the Provincial Special Prize for outstanding contributions.
First Prize at the 4th Yunnan Fine Art works Exhibition by Yunnan Art & Literature
Fund.
2003 Silver Prize at the national Fine Art Works exhibition in Beijing for ‘Holy Earth’
Excellence Prize at the international prints biennial exhibition in Beijing for ‘Road out
of Mountain’
2002 Gold Prize at the 16th National Prints Exhibition for ‘ open country’
2000 Li Hua Print Artist Awards by the Centre Academy of Fine Art.

International Awards:

1994 Silver Prize at ’94 International Shuimo Painting Exhibition in Canada for ‘Impression
of Xima River’
1993 Excellence Award at Beijing Hong kong ‘Oriental Cup’ Ink Works Competition Exhibit
for ‘WA Sahn Quan Spring’
1992 Excellence Award the 28th Japanese Contemporary Fine Art Exhibtion in Tokyo for
‘Feeling in the Forests’.

Tang Chenghua

Tang Chenghua (b. 1964) began his artistic training when China started opening up to the West. Although his aesthetic taste and training is firmly grounded in Chinese tradition, having traveled and worked in Japan, the United States, and Europe, Tang Chenghua must be considered as international contemporary artist. Equally at home working in ink painting on paper, lithography, or oil on canvas, while his works areunmistakably Chinese in nature, in today’s globalized world, the distinction between traditional Chinese painting and Western painting is similar to that which we make when we refer to sinology; although these conventions are increasingly less important or relevant, in the field of art, distinctions primarily exists to make the differences in pictorial style between east and west more explicit. I argue that Tang Chenghua is a contemporary calligrapher, but this label is not intended to typecast or underestimate his work. Instead, I hope to highlight and contextualize the remarkable creativity of this artist who translates sheer life into art, experiencing time and rhythm in shifting space as registered traces on paper or canvas, as only a calligrapher can.

My Present Exhibition

He Weimin 何为民

Within the traditions of the Song and the Ming dynasties, He Weimin is the scholar – artist. Scholarly control of the writing brush is calligraphy, where the visual expression of a word aims to complement its meaning and from the art of calligraphy emerged the twin arts of painting and drawing.!

Printmaking in the broadest sense soon followed, distilled into the woodcut printed with that same water-soluble black ink used for calligraphy and painting, eschewing its reproductive purpose and becoming an expressive medium under the patronage of the writer Lu Xun in the 1930s.!

He Weimin’s irrepressible creative energy encompasses all these aspects of the graphic arts.!

Weimin first studied printmaking at the Lu Xun Academy in Shenyang, north-eastern China. A period of professional practice was followed by four years of study at the University of Ulster leading to the award of a doctoral degree in 2005, his thesis being, in essence, a philosophical understanding of the nature of the woodcut.!

Weimin moved to Oxford in the same year to take up the post of Christensen Fellow in Chinese Painting at the Ashmolean Museum where he collaborated with the Keeper of Chinese Art in curating the exhibition Chinese Prints 1950-2006 held in Oxford in 2007.!

Thanks to his enthusiasm and that of his colleagues, a modest budget and Weimin’s personal contacts with the artists, the Museum was able to retain the exhibited prints that chart the diversity of creative output during the fifty-six year period.!

With the end of the Fellowship, Weimin was appointed to record the partial demolition and rebuilding of the Ashmolean Museum in ink drawings and woodcut prints. The many drawings of the museum staff, the building site and the building workers that emerged formed the first exhibition to be held in the new building and were published as the pictorial book ‘Building the New Ashmolean‘, a copy of which was presented to HM The Queen who officially re-opened the Museum in 2010.!

The quality and incisive nature of the drawings impressed all who saw them and confirmed Weimin’s suitability for his current post as artist in residence within the University of Oxford’s Estates Directorate. This new post requires him to record the re-development of the site of the Radcliffe Infirmary that on completion will become the Radcliffe Observatory Quarter. A ‘work in progress ‘ exhibition of the drawings and prints completed so far were shown recently in a temporary gallery on the site and examples from the exhibition were published in the Oxfordshire magazine in April.!

In recognition of the quality of his work and his contribution to printmaking, Weimin was elected an Associate of the Royal Society of Painter-Printmakers in 2012.