Design Centre, Chelsea Harbour
2nd November – 11th December 2017
Guo Shuang was born in Taikang County, Zhoukou City in Henan in 1990.
In 2014 she was awarded a BA degree from the Sichuan Academy of Fine Art and
is currently Young Artist in Residence at the Academy.
Gu Xiuhua is the joint First Prize winner of the Muban Educational Trust Woodblock Printmaking Award in 2015.
The Sichuan Academy of Fine Art, Gallery of Art.
The Muban Educational Trust.
The Shenzhen Academy of Art.
Chongqing Gallery of Art.
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.
《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
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
Qianhui Yu is an animation director, illustrator, creative visual designer living in London, who specialized in making character design and background design, also enthusiastic about making creative visual design practices. Graduated from Royal College of Art in 2020 with a MA in Animation, received Continuation Fund from Royal College of Art in 2019. She has painting and new media art educated background, achieved her BFA in Open Media Lab from China Academy of Art.
Her interest lies in candy-colour aesthetic, creatures and nature, surreal fantasy, future materials, minority issues or people, along with creative methods such as illustration, animation, photography, graphic design, filters. For the future practice, on one hand, she will continue to develop her current visual style and character design, and also has intentions to continue making work that deals with environmental issues.
Her works have been shown in film festivals and galleries around the world, recently she is going to show her animated short film ‘Wastopia’ in ‘Girls in Films’ and ‘ Nowness Asia’, selected Screening and Festival including Boil, Royal college of art, London(2019), The Elephant, Elephant, London(2019), Anilogue International Animation Festival, Budapest(2018), CutOut Fest International Animation and Digital Art Festival, Mexico(2018), Great Lakes International Shorts Festival,US(2019), Birmingham SciFi Con, Birmingham, (2018), ‘South Phenomena: Center Gateway One’ ShenZhen New Media Art Festival, ShenZhen(2016),10th Hangzhou Cultural and Creative Industry Exposition, Hangzhou(2016),’MEME CITY hacking realities’ media art festival, Hangzhou(2015)
He graduated from the sculpture department of Xi’an Academy of Fine Arts in 1989, since then he has been engaged in painting, public art and sculpture for more than 40 years. He lives in Shenzhen, now this city is becoming the front line for contemporary Chinese art in China, his public sculpture is easy to spot in the city.
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
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.
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
2013 Trilobite Printmaking Studio, Olympia,USA.
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,12th Provincial Fine Arts Exhibition,Changsha,China.
2012 Award Of Excellence, 14th National Exlibris and Mini-prints
2011 Award Of Excellence, 2nd National Youth Mini-prints Exhibition,
2010 Award Of Excellence, 1st Guangzhou International Exlibris and Mini-prints
2009 Award Of Excellence, 1st National Youth Mini-prints Exhibition, BinZhou,China.
2008 Award Of Excellence, 1st Exhibition Of College Teachers’ Works ,ChangSha,China.
2004 Award Of Excellence, Shaanxi Provincial Art Exhibition, Xi’An,China.
Hammer Chen is a multi-disciplinary printmaking artist. After graduating from the University of Arts London in 2016, she got RE Gwen May Recent Graduate Award from Royal Society of Painter- Printmaker. In 2017, after she returned to China, she founded her own printmaking studio in Shanghai, Wait and Roll printmaking studio which provides workshops and open space for artists. And she has been promoting new concepts in printmaking practice ever since.
Her work is informed by the idea of memory, nostalgia, and the sense of the cinematic.
Her images are not from a lived reality, they are imagined memories, rebuilt from collective experiences. She starts from a photographic archive or subjects her repeatedly drawn to —the light in the dark, the potential interaction of characters. It’s like a scene from a stage set, a kind of connected disconnection. The setting is open to interpretation, there is a tension or expectation, the anticipation of what is about to happen.
Kelly has been interested in painting since childhood. She is now a well known artist in China, after a successful career in acting and TV producing.
In her recent paintings, Kelly seemed amazed at what artificial intelligence can do: a mechanical babysitter and a robotic lover, depicting perfect harmony. Are there really substitutes for human needs for family bond and true love, Kelly wonders.
2014-2010 Xi’an Academy of Fine Arts, Xi’an, Shanxi, China
2016-2018 Camberwell College of Arts, MA Visual Art Printmaking, London
Intertwined, touched, detached hands and feet, talking about the relationships that I saw in the daily life, conscious and unconscious body behavior greatly affect our daily life and affect how we really get to know a person, including ourself. this specific human actions very much bring me into the sense of the particular areas of the bodies, it not a body as a whole, its the fragmentation. Freud said: “He that has eyes to see and ears to hear may convince himself that no mortal can keep a secret. If his lips are silent, he chatters with his fingertips; betrayal oozes out of him at every pore.” It seems only the body language can telling the truth about people’s thoughts. The stability and level of the tone do not make us distinguish between true and false. We are not polygraph instruments. Is that he/she is shy, is he/ she pretending to be calm, is he/she escaped something or the environment makes him/her insecure, whether they are close or not, a fingertip action, makes you can see the insight. We all have our own answers, and the importance of physical contact can not be ignored. Bones, organs, and Central Nervous System, we called command center are all under our skin, but what is beyond the skin? When we planned our actions, the brain gave clear instructions, but the subconscious may make the body react in advance. To me surface is a blurred boundaries，can’t clearly separated inside and outside. The figures that I created are based on my own reactions and the reactions of the people that I observed. The conscious and unconscious body reactions will be the important part in my works. The different communication way between East and West also give me the inspiration. The transformation of the state also affects the way people communicate and body language. In my eyes, the way East communicates with the West gives me different experiences and plays an important role in my observation. All the prints are printed by stone lithographs, Feet and hands are the symbol I use them all the time to represent the whole body, it became my own language. My own hands and feet will become the main actor to tell the story. I found my own symbols to explain the inside and outside.
A Ge, a member of the Yi ethnic minority in Yuexi County, Liangshan, Sichuan. As a child in1959 she joined the national minorities class at the Sichuan Academy of Fine Arts set up to nurture talent and publicise the progress made in minority areas through the young artists’ work. After graduation in 1964,she worked as a printmaker of Sichuan branch of the Artists’ Association. She is one of a group of Sichuan artists representing national minority subjects in black and white,water-soluble and oil-based inks. ‘Stroll’ depicts a full-length portraits of two young girls in national minority dress, one of the girl with a basket carrying on her back, properly stroll along the market. Traditional Chinese brush works technique has been well used to portray the girls dress.
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.
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.
B. A. (1998, China Academy of Arts), M. A. (2007, China Academy of Arts).
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.
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 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.
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 2nd and 3rd 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.
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
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
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
British Museum, National Art Library, Tate Library, Victoria and Albert Museum
Kennesaw State University, University of Tennessee, University of Aberystwyth, Changsha Normal University
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
1953 Born in Shandong province, China
1986 BA at JiXi Normal College ,China
Present: Dean of Heilongjiang Printmaking Institute, Vice-director of Harbin Art Museum
1984 “Night of Village”-Silver Prize at 6th National Art Exhibition
1993 “Tea”-Golden Prize from the Japanese Association for the Promotion of Chinese Prints “Peace”-Chosen for exhibiting at the 11th National Print Exhibition
1994 “Remembrance”-Honored as an outstanding work in the 8th National Art Exhibition “Encirclement”-Silver Prize at 12th National Print Art Exhibition
1996 “Snowbound along the Road Near Mountain Village”-Silver Prize at 13th National Print Exhibition
1998 “Primeval Echoes”-Selected for exhibiting at the 14th National Print Exhibition
1998 “Book Vouchers(set of five)”-Silver Prize at 7th National Exhibition of book Vouchers
Yu Chengyou ‘s images have drawn upon the natural surroundings of the northern provinces of china, from wild life to human life , places that through the simplicity of his style, seem tranquility and uncluttered, quite a contrast to the metropolises’ of China. Solace from the maddening crowd and industrialisation of China. His work promises something better for us, a world to strive for. These are prints of vision and style, with analytical precision and imagination, that is unique to Yu Chengyou
The dreamlike landscapes in Yu Chengyou’s art tell legends of the spirit, and his poetic lines are splashed with magnificent pure colors. He infuses the North landscape with abstract constructs, seeking out formal beauty in his lines. Natural still objects are orderly arranged for the purity of the artist’s image structure. His bird paintings have the exquisite vividness of Northern Song bird and flower paintings but also the succinct flawlessness of modern abstract form while maintaining the purity of classical eastern philosophy
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
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.
Cao Ou was born in Heze, Shandong in 1987. He passed the entrance examination for the Printmaking Department of the China Academy of Fine Arts in 2007 and was later awarded a BA degree in 2011. Cao was awarded his MA degree in Printmaking from the Academy in 2015, since then he has been working and living in Hangzhou.
Inspired by artists Xu Bing and Chen Qi, Cao Ou has developed his skills in the techniques of woodcut printing. His artistic themes are inspired by landscapes and the repeating patterns of buildings.
He was shortlisted for the First Muban Educational Trust Woodblock Printmaking Award in 2014.
His work is currently held in the British Museum’s permanent collection.
This video produced by Zhejiang Art Museum which is one of prestige museum in China, as part of the content for Cao Ou’s solo exhibition in the museum on 17th Sept. – 18th Oct. 2020.
In the video, Cao ou demonstrated the Douban technique, which originated in the last years of the Ming dynasty, is a printing approach building upon the basis of painting colours onto woodcut blocks. Cao Ou has applied this technique in all his print. Each print will take a month to complete.
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.
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.
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
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
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
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.
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 (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.
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.
The Muban Educational Trust (MET), previous known as the Muban Foundation, is a small charitable organisation based in London.
It is dedicated to raising the profile and re-vitalizing the field of contemporary Chinese printmaking.
MET administers a collection of more than 6500 Chinese woodblock prints from the last 250 years with a particular emphasis on prints from the late 20th century.
In order to identify and reward young talents in contemporary Chinese printmaking, MET offers an annual printmaking award which invites submissions from young printmakers from all areas of mainland China. The first and second MET Awards were held in 2015 and 2016, both have been great successes – 30 young artists have been shortlisted and 5 winners have been awarded.
The judges of the MET prints Awards are:
Anne Farrer – Sotheby’s Institute of Art, the Muban Educational Trust
David Barker – The Muban Educational Trust
Weimin He – Ruskin School of Art
Clarissa von Spee – The British Museum
Kevin McLoughlin – Independent Scholar
Guo Shuang 郭双 Guo Shuang was born in Taikang County, Zhoukou City in Henan in 1990. In 2014 she was awarded a BA degree from the Sichuan Academy of Fine Art and is currently Young Artist in Residence at the Academy. Gu Xiuhua is the joint First Prize winner of the...
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...
Qianhui Yu is an animation director, illustrator, creative visual designer living in London, who specialized in making character design and background design, also enthusiastic about making creative visual design practices. Graduated from Royal College of...
Lu Jun He graduated from the sculpture department of Xi'an Academy of Fine Arts in 1989, since then he has been engaged in painting, public art and sculpture for more than 40 years. He lives in Shenzhen, now this city is becoming the front line for contemporary...
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...
Liu Jing is a well-established, award-winning Chinese artist, focusing on printmaking since 2001. His primary focus in on oil-based woodcut prints, a medium through which he creates portraits of old masters and other historical and political Chinese figures.
Hammer Chen is an award-winning Chinese printmaker and illustrator whose work stems from an interest in using marks and textures to express sensations and emotions and to explore the mind, body, and self. She also runs printmaking studio Wait and Roll in Shanghai.
Kelly Mi has been interested in painting since childhood and is now a well-known artist in China, following a successful career in acting and TV producing. Her recent paintings focus on artificial intelligence and its role in our lives today.
Zhu Kecheng is a Chinese artist who creates lithography prints that focus primarily on different parts of the human body, conscious and unconscious body language, our relationships with one another and ourselves, and the psychology surrounding these connections.
A Ge is an established Chinese printmaker whose woodcut art represents national minority subjects in black and white, water-soluble, and oil-based inks. She is a member of the Yi ethnic minority and works to nurture artistic talents and promote artwork by others from Chinese minority groups.
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 fibreglass to make pieces of statement art.
Chen Qi’s creates black and white series of woodcut prints, most recently representing the reflections, ebb, and flow of water. These prints are quite risky with no specific focal point, looking at water’s abstract properties, and using it as a metaphor for change and the passage of time.
Chen Long is a Chinese woodcut printmaker whose work brings together traditional and contemporary elements to address various conflicts that sit within our collective unconsciousness. These realities of life are often represented by images that seem drawn from a fantasy world.
Wang Chao is an award winning Chinese woodcut printmaker whose architectural style work is characterised by fine lines, refined colouring and subtle tonalities. It alludes to the past in both technique and in subject matter, often a witty contemporary take on historical visual and literary genres.
Muban Educational Trust The Muban Educational Trust (MET), previous known as the Muban Foundation, is a small charitable organisation based in London. It is dedicated to raising the profile and re-vitalizing the field of contemporary Chinese printmaking. MET...