Chen Ping

CHENPING

CHENPING

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INTRODUCTION

BY MIKALA TAI AND BRYAN COLLIE 9

IN CONVERSATION WITH CHEN PING

BY MIKALA TAI AND LOUISE JOEL 10

ANOTHER REALITY BEHIND THE TWO NOTABLE REALITIES : MY PERCEPTIONS OF THE PAINTINGS OF CHEN PING

BY PROFESSOR WONG SHIU HON 12

WORKS

THE BOOK OF SONGS

BROKEN HEARTED 1 18

BROKEN HEARTED 2 20

BROKEN HEARTED 3 22

BROKEN HEARTED 4 24

BROKEN HEARTED 5 26

AN ANCIENT DREAM1 28

CONFUCIUS 30

OTHER REALITIES 32

XUAN

METAPHYSICS 1 36

METAPHYSICS 2 38

METAPHYSICS 4 40

METAPHYSICS 5 42

METAPHYSICS 6 44

METAPHYSICS 7 46

METAPHYSICS 8 48

VARIOUS WORKS

MAN WITH BIG BEARD 52

GIRL WHO IS SEvENTEEN 54

GENERAL 56

THE MYTH OF MOUNTAIN AND SEA 2 58

HAND FROM RED REACHING OUT HER IN WHITE 60

PROTESTORS 62

BIOGRAPHY

CHEN PING 65

May 19 – June 24 2011

© MiFA 2011

© All images and text copyright of the artists and authors

This catalogue is copyright. Apart from any fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, no part may be reproduced by any process without written permission.

Melbourne International Fine Art (MiFA)

L e v e l 1 , 2 7 8 C o l l i n s S t ,

M e l b o u r n e , 3 0 0 0

V i c t o r i a , A u s t r a l i a

w w w . m i f a . c o m . a u

+ 6 1 3 9 6 6 3 3 3 0 4

Curators: Bryan Collie and Mikala Tai

Public Programs: Louise Joel

Education Officer: Nicole Anderson

Design: Plug2Studio, Melbourne

Editing: Bryan Collie, Louise Joel, Mikala Tai,, Fay Pang, Griselda Toh and Felicity Strong

Photography: MiFAGallery , Pia Johnson /Artwork photography – Courtesy of Chen Ping

Cover Image: The Myth of Mountain and Sea 2, 2011, Oil on canvas, 210 x 180 cm

ISBN: 978-0-9807731-4-9

CHENPING

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It is with great pleasure that we present Chen Ping’s work at MiFA. Since the moment we saw his works we were struck by the immediacy of the emotions in his paintings - they have the ability to communicate the subtleties of life through the inexact lines of a palette knife. His supreme mastery of the palette knife to communicate delicate and explore complex concepts is unrivalled.

While the works appear, at first glance, to be purely abstraction, as one spends more time with each painting, figures and concepts are unveiled. Chen invites the viewer to explore the space between the tangible and intangible and leads us there through the richness of impasto paint. As we marvel at the texture of the canvas our eyes are drawn into the pictorial space searching for figures that appear only to disappear. It is this exploration of the metaphysical that is at the heart of Chen’s work.

We invite you to delve into Chen’s works and immerse yourself in a space beyond

the tangible.

Bryan Collie and Mikala Tai

INTRODUCTION

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Why art? Was there something really interesting that made you want to go to art school?

The person who influenced me to pursue art was my uncle. He was a famous Chinese artist and as a child I was always fascinated by his drawings. I remember drawing faces on the school’s blackboards and getting great satisfaction from it. Growing up, I was very certain that I wanted to do art and enrolled in an art school. On top of that, there was a famous artist from the art school whom I admire which was another motivation to study art.

At that school the style would have been very traditional?

At the end of the Cultural Revolution students were able to study both Western and Chinese art. It was the best of both worlds; gaining more knowledge about what I already know as a Chinese and opening my eyes to the world of western art. I have always been fascinated with Western art as there is so much to learn.

Was it that actual interest that made you want to study western art?

My uncle had advised me to study Western art to improve and develop my capability as an artist. For example, there shouldn’t be a Chinese or non-Chinese way of drawing a face because there shouldn’t be a precise method. Western art has opened up my way of thinking to how I approach my practice and how I create my artworks.

I think it’s interesting to watch people come in to see your work and they say ‘This isn’t Asian work’. So you wonder how do you categorize Asian work? Because you are someone who has experienced many experiences, and your art is based on these. How do feel about that? Do you find it strange how people try to put you in a box?

That’s understandable and I think this is due to the fact that I use a western medium. The spiritual space within the eastern work is not about Chinese symbols, it’s something more important than symbols, shapes, forms or images; it’s the spiritual elements, eastern

space is space without definition. Chinese art and Abstract art are very similar, in that with eastern art, there’s concept without definition also in the abstract sense, it’s like calligraphy is expressionist in western art. Eastern art is abstract, but it’s more spiritual, very much Zen.

So with your works, do you work from imagination and memories, or do you have someone sitting in front of you or from pictures?

When I began, I intentionally used images from the media by making a representation of them. That was the beginning of my thinking and my journey but now my work has become a bit more focused and lighter and not focused on representation. I think I’ve moved on to my own concept of using Chinese space with a spiritual concept.

Before this series, you were doing a lot of landscapes based on Tasmania, where you’re living. Was there a reason why you’ve left landscapes for a bit? Do you think you’ll go back to landscapes?

As an artist I had to start somewhere and I chose landscapes because they are an established product of nature, beautiful in its own way in which I learn a great deal of how to handle structures and movements in painting. As a starting point, it is good to work on something that already exists as oppose to trying to create something from scratch. Landscapes were a safe option for me but now I have discovered and learn more about myself and as a result, I have become more ambitious. This series has given me confidence and has put me on a journey into understanding and learning more about art itself.

This whole idea about learning from other artists and the history of art are there any particular artists who have influenced you?

Francis Bacon is a big influence on my art and me. I admire not just his works but the ideology behind them; the freedom in moulding figures and the ability to express the insight. I would compare Francis Bacon to cubism in that cubism is a discovery of different reality,

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while Francis Bacon is a discovery of appearance, the connection between human insight and appearance. Francis Bacon is not just another painter but more than a painter. His art sets a point of reference of what art should be about; neither a model nor a hierarchy. To him, art is not about the hierarchy system where there’s an authority on which is the best art form or who creates the best art. Art is an expression of a human being and it has the ability to affect us. These are the principles which are important to me as it has allowed me freedom in every sense as well as the ability to understand the complexity surrounding it.

How did you find the Pallet Knife and this very thick oil was the best way to bring your ideas to the canvas?

As with musicians using different tones, volume and pitch to express themselves, a painter too can control the volume, pitch and tones in a painting. The Pallet Knife is a way to be able to deal with such a volume but really it’s no different from using the brush because you can still see variety in tones and textures. It’s similar to the brush but I prefer the palette knife as I’m able to pick colours and mix them directly on the canvas. That’s how I deal with structure, by using a melting technique and a very strong substance.

We talk about the ‘Girl of Seventeen’ all the time because when we first looked at it we could see her face and then the more time we spent with the work more images began to emerge. It was very complex. The more time you spend with it the more perspectives and images you find. Did you have that experience yourself?

No, I did not. This could be due to the familiarity I have with this artwork, knowing the details of what is there and what isn’t. From a viewer’s point of view, it will be a completely different experience because you will look at it from different angles and perspectives and discover new things.

This series was done on media clippings, and the series you’re working on now? Can you tell us about the inspiration behind that?

I’m very interested in the teachings of Confucius and have applied his system of philosophy into my works. Confucianism is based on common Chinese traditions and beliefs, something close to my heart. It is about being an individual and doing your best regardless of human society. It is also about being able to uncover truth only when one is sincere. The concept of my work is about building peace within the universe which will then allow us to travel between space, time and humanity. Confucius is a thinker, he is the universe and he is a human. Humanity is structured when one element from each painting is put together to create human structure.

Finally, can you tell us a little about these works we are presenting at MiFA?

These works are statements about Xue, the eastern philosophic concept of metaphysics. It is about dealing with mankind and his relationship with the universe, in another words, it is interaction between human structures and metaphysical spaces.

The images of these works obsess with the uncertainty between deferent dimensions in space: reality and illusion, substance and emptiness, body and spirit, existence and destruction, subject and shadow, West and East. They examine the ancient Chinese ideal beauty and the incidence of mankind presence.

In painting “Hand from Red Reaching out to Her in White”, red and white become two different realities - realistic and idealistic. It is complexity in which the inevitable human desire and our unfulfilled wisdom and ideals would never reconcile.

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I am very much honoured to be invited to introduce Chen Ping and his works.

Born in 1962 in Shantou, China Chen Ping now works between both Beijing and Hobart. In 1981 he obtained a certificate from the Sub-High School, Guangzhou Academy of Fine Art, China. In 1985 he was awarded the Bachelor of Fine Art (Education) by the Guangzhou Academy of Fine Art. Later in 1997 he was awarded the Bachelor of Fine Art (Painting) by the School of Art, University of Tasmania, Australia. Since then he has been actively involved in the art circles in Australia and China and has exhibited in various cities in Australia, China, United Kingdom and United States. His works are now housed in art galleries and private collections all over the world where they are met with great acclaim.

While the form of Chen Ping’s works has reflected the influences of a number of western masters such as El Greco, Giacometti, Modigliani, Francis Bacon and above all Willem de Kooning. It is my strong belief that the style of Chen Ping’s works has been influenced immensely by Willem de Kooning but also deeply rooted in traditional Chinese painting and calligraphy. The emphasis that Chen Ping places on brush-work in his paintings is evidence of this influence.

Since the early 5th century, Chinese artists have been emphasizing two very important principles in Chinese art, namely, the Rhythmic vitality and lively movements, and Structural method in the use of the brush. It is only through the Structural method in the use of the brush that the artist can achieve the Rhythmic vitality and lively movements in painting. Now Chen Ping has achieved this through his mastery of brushwork.

Beyond simply brushwork Chen Ping’s paintings explore the complex concept of multiple realities. Co-existence realities such as reality + illusion, substance + emptiness, body + spirit, existence + destruction, subject + shadow, West + East. While these two separate entities are evident within his works their combination of the two concepts create an additional reality. The other reality is neither Reality A nor Reality B but rather Reality C –

the direct product or the result of the combination of Reality A + Reality B.

Reality A + Reality B = Reality C

Reality A and Reality B in the painting are elements of opposite nature or opposite forces, which Chen Ping pulls together through paint. That is why in the works of Chen Ping, the images are very often distorted, sometimes even broken into pieces. They appear fragmentary and figures appear to simply disappear. We can notice that there are cracks and even distortion in his works, that the images are basically broken, we can see a bit here and a bit there. Although the brush work appears broken the idea or theme is intact, as we say in Chinese, this is “筆斷意連” . Similarly, in the works of Chen Ping, the images are broken, but the reality—the other reality is there. Then, what is the other reality? I consider that it is the artist’s uncertainty of two realities of different nature. It is in this uncertainty that the dream of the ancient Chinese ideal beauty and the doubt of the incidence of the presence of mankind are, at the same time, expressed. In each of Chen Ping’s works, he tries to convey to us the idea, the soul and his views on art. In fact, we can find in his works the ultimate reality of his art pieces, or rather the ultimate metaphysical reality of them.

In the book Dao De Jing 道德經 (Book of the Way and virtues) written by Lao Zi, the teacher of Confucius, about two thousand six hundred years ago, there is a passage which reads as follows:

What is the Dao?It is Something elusive and evasive.Evasive and elusive!And yet It contains within Itself a Form.Elusive and evasive!And yet It contains within Itself a Substance.Shadowy and dim!And yet It contains within Itself a Core of Vitality.

The “Substance” mentioned by Lao Zi is exactly the metaphysical reality we can now see in the works of Chen Ping, which are filled completely with full vitality.

With his brush and paints, Chen Ping has succeeded to express this ultimate metaphysical reality.

Chen Ping expresses or shows the metaphysical reality to us with his own language of art, that is, his own techniques and his own style. Chen Ping’s soul exists in every piece of his paintings. About two thousand five hundred years ago, the ancient Chinese had produced a very sophisticated and well known treatise entitled Yi Jing 易經 (The Book of changes). Yi Jing places a strong emphasis on the discussion of yin 陰 and yang 陽 the negative force or element and the positive force or element. These two opposite elements help to build up the whole universe and everything within the universe. The Yi Jing says:

The combination of yin and yang is called the Dao (the Way)

In many of Chen Ping’s works of art , as I have mentioned before, there are two notable realities, which can be compared to the yin and yang elements indicated in the Yi Jing. When Chen Ping pulls them together or places them in a harmonious state, they then become the Dao, the metaphysical reality or the other reality. It is the “Core of Vitality” as emphasized in the Dao De Jing. Why? Because it is the life and soul of Chen Ping! Dao De Jing further suggests:

The Core of Vitality is very real,It contains within itself an unfailing Sincerity.

Since the other reality is the life and soul of Chen Ping, it is undoubtedly “very real”. It has got an “unfailing Sincerity”. In fact, all of Chen Ping’s artworks encapsulate Chen Ping himself and is a true expression of his thoughts and being. So I invite you to examine and explore his works and find the metaphysical reality within it. Let us feel the “Vitality” within the metaphysical reality, and, finally, let us be touched by the “sincerity” of the artist towards art.

Professor Wong is former Professor, School of Chinese, University of Hong Kong. Presently

he is Honorary Principal Advisor, Chinese

Arts and Antiquities, Tasmanian Museum and

Art Gallery, Australia; Honorary Fellow, Jao

Tsung-I Petite Ecole, The University of Hong

Kong; and Museum Expert Adviser, Leisure and

Cultural Services Department, Hong Kong SAR,

PRC.

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BIO

GR

APH

Y Chen

Ping

BORN

1962 Shantou

China

Works in Beij ing

and

Austral ia

Education

» 1997 Bachelor of Fine Arts (Painting), University of Tasmania, Australia

1985 Bachelor of Fine Arts (Education), Guangzhou Academy of Fine Art, China

Residences

» 2008 Resident Artist, Red Gate Gallery, Beijing, China

1999 Resident Artist, Salamanca Arts Centre, Hobart, Australia

Selected Awards and Grants

» 2010 Australia Government Foreign Affair and Trade EMDG Grant, Australia

2009 Australia Government Foreign Affair and Trade EMDG Grant, Australia

2008 Winner, Side by Side Art Competition, UK

Australia Government Foreign Affair and Trade EMDG Grant, Australia

Tasmania Premier Grant, Australia

Arts Tasmania Grant, Australia

Australia – China Council Grant, Australia

2005 Finalist, The Glover Prize, Evandale, Australia

1997 Finalist, Hutchins Art Price, Long Gallery, Hobart, Australia

Selected Solo Exhibitions

» 2011 Colville Gallery, Hobart, Australia

Art Equity, Sydney, Australia

Melbourne International Fine Art, Melbourne, Australia

2010 Tally Beck Contemporary, New York, USA

Today Art Museum, Beijing, China

Colville Gallery, Hobart, Australia


Australian Consulate General, New York, USA

2009 Salamanca Collection, Hobart, Australia


Salamanca Arts Centre, Hobart, Tasmania

2008 vis-à-vis Art Lab, 798, Beijing, China

Salamanca Collection, Hobart, Australia

Long Gallery, Hobart, Australia

Guangdong Museum of Art, Guangzhou, China

2007 Salamanca Arts Centre, Hobart, Tasmania


Salamanca Collection, Hobart, Australia



Northern Exposure Festival, Melbourne, Australia



Salamanca Arts Centre, Hobart, Australia

Shantou University Gallery, Guangdong, China


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2001 Salamanca Arts Centre, Hobart, Australia

Loft Gallery, Hobart, Australia

Salamanca Arts Centre, Hobart, Australia

2000 Foyer Installation Gallery, Hobart, Australia

Selected Group Exhibitions

» 2011 Hong Kong Art 2011, Tally Beck Contemporary, New York, USA

Asian Art Week, Tally Beck Contemporary, New York, USA

Scope Art Show New York 2011, Tally Beck Contemporary, New York, USA

Artaid @ TMAG 2011, Tasmania Museum and Art Gallery, Hobart, Australia

Los Angeles Art Show 2011, California, USA

2010 Sydney Art 2010, Sydney, Australia

Stock Room, Melbourne International Fine Art, Melbourne, Australia

Asian Art 2010, Tally Beck Contemporary, New York, USA

Beijing International Art Fair, Beijing, China

2009 Melbourne Art Fair, Melbourne, Australia

Hong Kong International Art and Antique Fair, Hong Kong

Exhibition of the Permanent Collection of Contemporary Art by Davis Museum,

MuseoKarura Art Centre, Spain

One World One Home, Qing Tong Museum, Ordos, Inner Mongolia, China

Digital Art Expo International, Los Angeles Centre for Digital Art, California,

USA

Coming Home, Linda Gallery, 798, Beijing, China

Australian Contemporary Art, Hong Kong

2008

Try to Remember, Osage SoHo Gallery, Hong Kong

Singapore International Art Fair, Singapore

International Artist Residency Exhibition, Red Gate Gallery, Beijing, China

2005 The Glover Prize, John Glover Society, Evandale, Australia

Sydney Art Fair, Sydney, Australia

2003 Living Artists Week, Salamanca Art Centre, Hobart, Australia

2002 Fingering Glover, Long Gallery, Hobart, Australia

The Charcoal Grilled She, Foyer Installation Gallery, Hobart, Australia

2000 Converge, Long Gallery, Hobart, Australia

1997 Hutchins Art Awards, Long Gallery, Hobart, Australia

International Art Exhibition of Chaoshan Origin, Gallery of Shantou Institute of

Art, Guangdong, China

Beaching the Whale, Long Gallery, Hobart, Australia

Affinity, Fine Arts Gallery, University of Tasmania, Hobart, Australia

Hue’s Hue, Entrepot Gallery, The School of Art, Hobart, Australia

1990

East Sydney Scenes, The Watercolour Gallery, Sydney, Australia

1989 Shantou University Teachers’ Exhibition, Gallery of Shantou Institute of Art,

Guangdong, China

1987 Annual Member Exhibition, Shantou Painting Society, Shantou Museum, Guangdong,

China

1986 Teachers’ Exhibition, Shantou University, Guangdong, China

1985 Graduation Exhibition, Guangzhou Academy of Fine Arts, Gallery of Culture Park,

Guangzhou, China

Selected Collections

» Guangdong Museum of Art, China

Guangzhou Academy of Fine Art, China

White rabbit Contemporary Chinese Art Collection, Sydney, Australia

Davis Museum, Barcelona, Spain

Popov Private Collection, Moscow, Russia

Privates and Organisations including Austria, Australia, Denmark, England, Ger-

many, Hong Kong, Ireland, Japan, New Zealand, Russia, Switzerland, USA

Selected Publications

» 2011 Tim Phelan, 50 Contemporary Artists, Amazon, USA

MIFA, Xuan, Metaphysics, Chen Ping's Exhibition, Melbourne, Australia

2010 Three Australian Painters, Broadway Gallery, New York, USA

It’s Song, Like Dream (E-catalogue), Today Art Museum, Beijing, China

2009 Chen Ping, Paintings 2007 – 2008, Beijing, China

2008 Oil Paintings by Three Australian Artists, Guangdong Museum of Art, Guangdong,

China

2007 Figurative Language, Australian Art Collector, Issue 41, Australia

2005 Raphaelite Now, Australian Art Collector, Issue 32, Australia

1987 Chen Ping: village, Shantou Daily, Guangdong, China

1986 Chen Ping: Illustration, Overseas Chinese Literature Magazine, Shantou Univer-

sity, Guangdong, China

1985 Artworks by Students of Guangzhou Academy of Fine Art, Series of National Acad-

emies of Fine Art, Beijing, China

Selected Bibliography

» 2011 Priscilla Liang, LA Art Show, Interview,Art Movement, ICN Tv, US

Tally Beck Contemporary Exhibits Chinese and Thai Works At SCOPE NY, The Art

Dossier, New York, US

Suzie Walshe, interview, NY Arts Magazine, New York, US

Wong Suihong, Metaphysics, foreword, Catalogue, MIFA, Melbourne, Australia

2010 Ralph Hobbs, Ancient Dreams, essay, Art Equity, Sydney, Australia

FrédéricoAlagna, Interview, Frédérico.com, France

Tally Beck, Confucius, Other Realities, essay, TB Contemporary, New York, USA

2009 Linda Smith, Family Life as a Work of Art, Terrific Tassie, Mercury, Australia

Clyde Selby, Revisit, Inside Arts, Mercury, Australia

Coming Home, Interview, 7 Network (Australia), Beijing, China

Coming Home, interview, ABC Tv (Australia), Beijing, China

Zhu Xili, Coming Home, Interview, China Central Tv, Beijing, China

Roy Lin, Coming Home, Interview, China Culture Daily, Beijing, China

Ian Findlay, Emptiness and Substance, Feature Article, Asian Art News, Hong Kong

2008 Clyde Selby, Her Dreams, Inside Arts, Mercury, Australia

Alice Claridge, The Other Side, Inside Stories, Mercury, Australia

Michael Edwards, foreword, Chen Ping Painting, China

Sally Glaetzer, Art’s Big Smoke-Tassie’s Fresh Air, News, Mercury, Australia

Jane Dyer, Tasmanians in China, Artnotes, Art Monthly Australia

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Jane O’Sullivan, Artist Milestones, This Art Week, Australian Art Collector,

Australia

Nina Jaatinen, Ruins, Interview, Tv and News Papers, Finland

Peter Timms, Taking off the Masks, New vision Magazine, Beijing China

Jan Hauters, Chen Ping, Paint, Hope & Pain, That’s BJ, Beijing, China

Penny Thow, The Great Wall, Sunday Art, Sunday Tasmania, Australia

Bill Bleathman, foreword, Oil Paintings by Three Australian Artists, Catalogue,

Guangdong Museum of Art, China

Wang Huangsheng, foreword, Oil Paintings by Three Australian Artists, Catalogue,

Guangdong Museum of Art China

Preview-China Exhibition, Stateline, ABC Tv, Hobart, Australia

Katie Edwards, Chen Ping's Depiction of Humanity and Search for Identity, essay,

Bournville College of Art, Birmingham, UK

David Stockdale, It's an Art Attack, Inside Arts, Mercury, Australia

Peter Timms, Taking off the Masks, Catalogue, Guangdong Museum of Art, China

2007 Sally Glaetzer，interview, ABC Tv, Australia

Ralph Hobbs, Island Symphony, Catalogue, Art Equity, Sydney, Australia

JoergAndersch, Figurative Language, Inside Arts, Mercury, Australia

The Salamanca Collection, Figurative Language, Issue 41, Australian Art

Tricky Walsh, Tear In Her Eyes, News Letter, Art Equity, Sydney, Australia

2006 Penny Thow, Local Atmosphere, Sunday Arts, Sunday Tasmanian, Australia

JoergAndersch, If Turner was here, Inside Arts, Mercury, Australia

2005 Penny Thow, Painting’s Language, Sunday Arts, Sunday Tasmanian, Australia

JoergAndersch, Raphaelite Now, Inside Arts, Mercury, Australia

2004 JoergAndersch, Figure Out, Inside Arts, Mercury, Australia

2003 Art Editor, Life is Beautiful, ABC Radio, Australia

JoergAndersch, Life is Beautiful, Inside Arts, Mercury, Australia

2002 Zeng Song Ling, The Joy of Self Righteousness, Chao Sheng Magazine

Yang Pei Jiang, Painting is the Language of Ambiguity, Shantou Metropolitan

Daily, China

JoergAndersch, Still Time, Inside Arts, Mercury, Australia

2001 JoergAndersch, Shadowing the Paper, Inside Arts, Mercury, Australia

JoergAndersch, Drawing into the Square, Inside Arts, Mercury, Australia

2000 Chris Nelson, Box – viewpoint, ABC Radio 8.45 pm, 31 may, Australia

JoergAndersch, Box – viewpoint, Inside Arts, Mercury, Australia

1997 JoergAndersch, Affinity, The Saturday Mercury, Australia

Professional Artistic Experience

» 2011 Presentation, Popov Private Collection, Moscow, Russia

Presentation, Today Art Museum, Beijing, China

Presentation, Tyche-Tyche, London, UK

2010 Presentation, Tally Beck Contemporary, New York, USA

2009 Presentation, Gaffer, Hong Kong, China

Presentation, Davis Museum, Barcelona, Spain

Presentation, White Rabbit Contemporary Chinese Art Collection, Sydney,

Australia

2008 Guardian Auction, Guangzhou, China

Presentation, Guangdong Museum of Art, China

2002 -2005 Member of the art sub-committee, Salamanca Arts Centre, Australia

2001 Member of Contemporary Art Tasmania, Australia

2000 - 2001 Guest Speaker, Printmaking Department, The School of Art, University of Tasmania

1989 Member of Chinese Artists Association, China

1986 -1990 Member of Shantou Painting Society, China

1985 -1990 Assistant Lecturer, Shantou University, Guangdong, China

Other Activities

» 2003 Co-curator, Out of China, Long Gallery, Salamanca Arts Centre, Australia

Co-curator, Tasmania vision, Shantou University Gallery, China

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Chen Ping