Michael Goedhuis , Stand n° AM416

Green Peacock b - Ligang Wei

Ligang Wei Green Peacock b

Solar Snare (white) -

Solar Snare (white)

Fissuring: Red Rock and Snowy Mountain -

Fissuring: Red Rock and Snowy Mountain

Exhibiting Artists

  • Lo Ch'ing 罗青  (+)

    Biography : Lo Ch’ing is a poet, painter, and calligrapher. He moved to Taiwan in 1949. At an early age, Lo learned classical ink painting of the court tradition and subsequently, he studied in the English Department of Fu Jen University and received an MA degree in Comparative Literature from the University of Washington, Seattle, in 1974. He has been both a professor of literature and a professor of fine arts in universities in Taiwan, the United States, the United Kingdom, Prague, and mainland China. His poems have been published and translated into many languages, and Lo Ch’ing is regarded as one of the pioneers of postmodern poetry in Taiwan. He has also been a major innovator in ink painting, for which he has created a new visual vocabulary that deconstructs the classical forms of Chinese landscape by introducing into his compositions abstract and geometric elements as well as unexpected contemporary motifs.abstract and geometric elements, as well as unexpected contemporary motifs.

    Detailed Description : The Sun, the Moon and the Little Yellow Flower
    Ink and colour on paper
    Each panel: 54 x 27 1/2 in (137 x 70 cm)

    Also exhibited by:

    Also represented by:

  • Emilie Pugh  (+)

    Biography : Born in London in 1988, Emilie Pugh studied at Byam Shaw School of Art, The Ruskin School of Fine Art and Drawing at Oxford University. She currently lives and works in London. Her work over the past few years has been guided by an interest in the interconnectivity of all living things. It draws on systems of belief from the spiritual to the scientific, the micro to the macro and the conflicting or confluent universal forces that govern them.  Through drawing, burning, moving 3D installation and light work, she investigates the invisible currents that permeate our everyday existence. Time, breath, pulse, energy pathways, psychological cartographies; those things which are felt or heard rather then seen. With a focus on drawing Emilie Pugh employs a wide variety of mediums and processes. A combination of unconventional methods of mark making, a lit incense stick, gunpowder, chemicals, thread and light as well as the more conventional pen and ink. The choice of material and the process are inextricably bound with the concepts. Everything is in flux, evolving, growing dying and dissolving in a perpetual cycle. She is compelled by the tensions that exist between the transient and the permanent; between form and the void, and what is material and immaterial.

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  • Qin Feng 秦风  (+)

    Biography : Qin Feng is an iconoclastic artist who is actively involved in China’s avant-garde art movement. He studied mural painting at the Shandong University of Art and and was one of the only two people in Shandong Province who radically experimented with imported styles of contemporary art during that period. From 1996 to 1999, Qin Feng taught at the Berlin University of Art while further exploring the possibilities of synthesizing modernism and the ink-painting tradition. In 1999, he moved to Boston where he currently resides. Before brushing ink on numerous layers of xuan paper, Qin often dyes it with tea and coffee as a metaphorical gesture of two cultures blending together. His fluid ink and dynamic brush technique has developed into a style that is related to Abstract Expressionism in its openness to chance and emphasis on gesture. His works are a persuasive manifestation of the vitality of the calligraphic tradition.Qin, the legacy of ink-painting is manifested in his intensely emotional and explosive works – whose intention is to make art that is meaningful to the new generation in China as well as the West, without jettisoning his link with Chinese brush-painting. Upon moving to the United States, Qin Feng earned a fellowship and residency with the prestigious MacDowell Colony in New Hampshire and has exhibited and performed at the Asia Pacific Museum in California and at the Asia Society and the Metropolitan Museum of Art in New York.

    Detailed Description : West Wind East Water 078, 2005
    Ink, coffee and tea on silk-and-cotton paper
    51 1/4 x 37 in (130 x 94 cm)
    Signed lower left

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  • Qiu Deshu 仇德树  (+)

    Biography : Qiu Deshu, one of the few Chinese artists to have received international recognition since the 1980s, studied traditional ink painting and seal carving when he was a child. However, the Great Proletarian Cultural Revolution interrupted his career in art, and he was sent to work at a plastics factory. In the late 1970s, Qiu picked up ink painting again and cofounded the Grass Painting Society (Caocao huashe), one of China’s first experimental art groups of the post-Mao period. In the early 1980s, he developed his signature style of works called “fissuring” (liebian). This is a metaphor for the artist’s life and artistic career, both of which have experienced dramatic disruptions and setbacks. In these works, he applies vivid colors to xuan paper, which he tears up; Qiu mounts the fragments to a base layer, often leaving space between, to create a pictorial field with the “cracks” that he feels are symbolic of life’s journey.o xuan paper, which he tears up and then mounts the fragments to a base layer, often leaving space between to create a pictorial field with the “cracks” that he feels are symbolic of life’s journey.

    Detailed Description : Mountainscape I, 2004
    Ink on paper and cardboard
    48 x 96 in (122 x 244 cm)

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  • Wei Ligang 魏立刚  (+)

    Biography : Wei Ligang has been at the forefront of contemporary ink painting’s development from its beginning, and he was one of the organizers of the June 1999 “Bashu Parade” exhibition. Wei studied mathematics at the Nankai University in Tianjin and he became the president of the calligraphy society at the university. After graduating in 1985, Wei was assigned to teach mathematics at the Teachers’ Training School in the industrial city of Taiyuan, but he succeeded in persuading the school to allow him to teach calligraphy in 1988. His training in mathematics has contributed to his abstract form of calligraphy. Wei Ligang constantly deconstructs and re-forms the characters in his paintings while hinting at traditional script-forms (such as formal, running, or “grass” script), thus declaring his deep roots in Chinese culture. His works were included in the pioneering exhibition organized by Gordon Barrass at the British Museum in 2002.

    Detailed Description : The Tiger-like Deep Pond Filled with Bleating of the Deer
    Ink and acrylic on paper
    37 3/4 x 35 1/2 in (96 x 90 cm)

    Artist's Objects:

    • Ligang Wei - Green Peacock b Green Peacock b

    Also exhibited by:

    Also represented by:

  • Yao Jui-chung 姚瑞中  (+)

    Biography : Born in 1969, Yao Jui-chung is now internationally recognised as one of the most innovative Chinese artists of his generation. His work runs against the current of much of the mainstream avant-garde, in its unabashed delight in producing a visual experience for the viewer that is beautiful as well as intellectually provocative. He is well-known for his works on paper, as well as his versatile experiments in photography, installation, performance, video and sculpture. He is also a curator, art critic and art historian and has been dedicated to evaluating and promoting Taiwanese contemporary art both in Taiwan and internationally. He graduated from Taipei National University of the Arts and continues to teach there. He also represented Taiwan at the Venice Biennale in 1997.

    Detailed Description : Good Times: Golden Cloud
    Ink and gold on handmade paper
    78 x 63 in (198 x 160 cm)

    Also exhibited by:

    Also represented by:

  • Zhi Guan 官志  (+)

    Biography : Born in 1970, Guan Zhi has learned painting since boyhood and devoted himself full time to ink painting after 20-year social work and accumulation of artistic accomplishment. He quickly found his own brush-and-ink language and is forming his own appearance after he came to the US with an EB-1a visa of extraordinary ability in 2014. Guan’s works are majestic and magnificent with great momentum, or profound artistic conception, with thoroughly tempered essence of classical Chinese language for their souls. Indicating the potential level of a new generation of literati paintings, they are a kind of aesthetics based on literature, as well as a kind of visualization of traditional Chinese literati spirits and characters.

    Also exhibited by:

    Also represented by:

Other Represented Artists

  • Zheng Chongbin 鄭重賓  (+)

    Biography : Zheng Chongbin studied in China before travelling to the United States where he received an MFA from the San Francisco Art Institute in 1991. He received his BFA from the Chinese Painting Department, Zhejiang Academy of Fine Arts (now China Academy of Fine Arts), Hangzhou in 1984 and subsequently taught there from 1984 to 1988. Like many other contemporary Chinese artists, he is bi-cultural, spending his time between China and the US. His work reflects influences from both cultures, and his richly textured ink surface confronts issues of form as well as a loftier metaphysical dimensions. His recent projects include a commission for The Sand's Corporation at Marina Bay Sands Integrated Resort in Singapore and a commission for the San Francisco Asian Art Museum.

    Detailed Description : The Propositions of Alignment (D)
    Ink and acrylic on paper
    33 x 32 ½ in (84 x 83 cm)

  • Gao Xingjian 高行健  (+)

    Biography : Gao Xingjian was awarded the Nobel Prize for Literature in 2000. During the 1960s and the 1970s, Gao worked as a translator while writing novels and painting. During the Cultural Revolution he was sent to the countryside for reeducation and burned some of his manuscripts. In the 1980s, he published experimental literature as well as nonfiction, but after one of his plays was banned in 1986, Gao retreated to nature and spent ten months in the mountains of Sichuan. In 1987, Gao Xingjian moved to Paris where he still lives. The expressive paintings that spring from Gao’s introspection are characterized by a spontaneity of touch, and their ink tones that range from subtle grays to jet blacks can either swallow or emit light. His style can be characterized as that of “writing of the idea” (literally, xieyi), which allows him to create subtle, intuitive works that move between figurative and abstract art.in 1997. The expressive paintings that spring from Gao’s introspection are characterized by a spontaneity of touch, and their ink tones that range from subtle grays to jet blacks can either swallow or emit light. His style can be characterized as that of “writing of the idea” (literally, xieyi), which allows him to create subtle, intuitive works that move between figurative and abstract art.

    Detailed Description : L'Astre, 2009
    Ink on paper
    45 1/4 x 41 3/4 in (115 x 106 cm)

  • Wenda Gu 谷文达  (+)

    Biography : Wenda Gu moved to New York in 1987 and has become one of the highest-profile members of the Chinese diaspora. Although studying traditional Chinese painting, Gu became one of the leading figures in the New Wave art movement of the mid-1980s, when he utilized the technical skills he acquired in school for his iconoclastic painting and calligraphy projects. Ink Valley and White Water, 1986, exemplifies Gu’s revolt against the tyranny of the traditional aesthetics of brush and ink (bimo) by subverting it. The large-scale and unconventional composition of the painting has created a spiritual and surreal world, which reflects the mentality of the Chinese society and idealist art of the 1980s when huge social changes took place. By combining different character components, Gu has invented unreadable characters to investigate the power of the written word. In most of these works, he places these powerfully symbolic pseudo-characters in vast surreal spaces. components, Gu has invented unreadable characters to investigate the power of the written word. In most of these works, he places these powerfully symbolic pseudo-characters in vast surreal spaces.

    Detailed Description : Forest of Stone Stele #16, 2000
    Ink rubbing on rice paper
    71 x 38 in (180 x 97 cm)

  • Lu Hao 卢昊  (+)

    Biography : Scion of an old Beijing family of Manchu bannermen, Lu Hao is one of the brilliant new generation of artists in today’s globalizing Chinese art world. He was appointed curator of the Chinese Pavilion for the 53rd Venice Biennale in 2009. Lu is deeply concerned about the brutal urban redevelopment of his native city and the loss of everything connected with the life of his childhood courtyard home. Although he studied Chinese ink painting at the Central Academy of Fine Arts in Beijing, Lu is best known for his works with modern materials such as Plexiglas, used to create models of major public buildings inhabited with live creatures. He also utilizes his academic training in ink painting in an alternative approach to express his interest in architecture and current realities.

    Detailed Description : True Landscape, 2012
    Ink and colour on paper
    59 x 78 3/4 in (150 x 200 cm)

  • Xu Hualing 徐华翎

    Biography : Xu Hualing 徐华翎 Born in Harbin, Heilongjiang province of China in 1975, Xu Hualing graduated with a Bachelor's degree and a Master’s degree in Chinese Painting at the Central Academy of Fine Arts (CAFA), Beijing, in 2000 and 2003 respectively. From 2003 to 2012, she taught at the Beijing University of Technology, Art & Design College. She currently lives in Beijing and teaches in the department of Chinese Painting at CAFA. Xu Hualing has established herself at the heart of the Chinese contemporary Ink Art avant-garde with works that incorporate the delicate “feminism” of the traditional Chinese ideal into renderings of adolescense in the full flood of complex emotion. Her outstanding technical and aesthetic gifts are now also in evidence as a teacher at the elite art school in Beijing, the Central Academy. Selected Solo Exhibitions 2016 Feather-light, Today Art Museum, Beijing, China 2015 Guan Ju, Tang Contemporary Art Center, Hong Kong, China 2008 Swords Girl, Kohler Muller Gallery, Amsterdam, Netherlands 2008 Xu Hualing - Chivalrous Women, Kohler Muller Gallery, Amsterdam, Netherlands 2007  Eternal Beauty, DF2 Gallery, Los Angeles, USA  2007 Eternal Beauty, F2 Gallery, Beijing, China  Selected Group Exhibitions 2016 Chinese Ink Painting on Fan-shaped Silk, Sunyard Sinceren Art Center, Beijing, China 2016 Stories of the Life, Contemporary Chinese Art Exhibition, China Culture Center, Sydney, Australia 2015 For Chinese Painting Round II, CAFA Art Museum, Beijing, China 2015 Imaginary Image, Sunyard Art Center, Hangzhou, China 2015 Six Cities - New Chinese Ink Exhibition, Shandong Art Museum, Jinan, China 2015 Pattern Style, Dayuntang Art Museum, Beijing, China 2015 The Revival of Tradition - Another Approach Contemporary Chinese Art, Javits Center, New-York 2015 Shuimo, Beijing Minsheng Art Museum, Beijing, China 2015 Image Study - Logic of Presentation Ink Wash and Ink Process, Rightview Art Museum, Beijing, C

  • Li Huayi 李华弋  (+)

    Biography : Li Huayi began studying as a child and has become one of the most distinguished and internationally recognized Chinese artist of his generation. From a wealthy family, he was able to study both the techniques and styles of Chinese classical paintings as well as European drawing and painting. In 1982, Li moved to San Francisco where he earned an MFA at the San Francisco Art Institute. The expatriate experience reawakened his interest in the classical Chinese tradition of landscape painting and his best-known subjects are misty mountains. Li Huayi creates landscape paintings that are reminiscent of masterworks from the Song period (960–1279). However, instead of planning the composition beforehand, Li applies ink on the paper first, and then allows the composition to take shape in response to the density of the ink. This element of chance brings his work close to late- or post-modernist imperatives, combined with superlative aesthetic similarities to traditional landscape painting.

    Detailed Description : Landscape
    Ink on paper
    42 3/4 x 36 in (180 1/2 x 91 1/2 cm)

  • Richard Hudson

    Biography : Born in Yorkshire in 1954, Richard Hudson came to sculpture relatively late in life, but has since built up a body of work that combines an emphasis on craftsmanship with a playful consideration of the relationship between figuration and abstraction. In the late 1980’s, Hudson started working in architectural design and developing property in central London. He was one of the first to take Industrial units and turn them into residential buildings. During this period and whilst travelling extensively around the world, he realised he wanted to focus solely on his art. In 1996 he settled in Spain and started creating figurative works in clay and plaster and working with the local foundries casting his work in bronze. From there, he started to experiment with different materials and his work gradually evolved from figurative sculptures. In the mid-2000s, he became interested in replicating iconic pop imagery, but unlike the pop artists there was no element of mechanical reproduction. The ‘Heart’, ‘Tear’ and the ‘Marilyn’ were laboriously hand crafted. From then, the work has morphed into the increasingly abstract forms we see today. During this period, he worked in wood, bronze, marble and more increasingly polished mirrored steel. In 2016 he completed a commission to make the largest heart in the world - an 8 metre tall polished mirrored steel sculpture; ‘Love Me’ at the Donum Winery Sculpture Park, in Napa Valley, California. Over the past ten years has installed over 50 monumental sculptures in private collections, museums and sculpture parks around the world. He has successfully shown five times with Sotheby’s at Chatsworth’s ‘Beyond Limits’ exhibitions and in December 2017 he installed his sculpture ‘Tear’ (H: 300 cm) in Plaza 33, Penn Station outside Madison Square Gardens in New York.

  • Jizi 姬子  (+)

    Biography : Born in Hebei Province in 1942, Jizi moved as a young man to Beijing where, rather than embark on a classic academic fine art education, he immersed himself in the study of the 'Mustard Seed Garden Manual of Painting', which has been perhaps the single most individual cultural source for ink painters in the past three centuries. Over the following years, Jizi concentrated on developing his own brush and ink technique, evolving from his study of Song period masterpieces into an original and expressive abstraction that he refers to as the 'Dao of Ink'. While there is a broad network of pictorial references in his latest works, intimate links with the classical canon and the calligraphic gesture remain strikingly evident. However, he is deeply aware of the need for contemporary ink artists to address the imperatives of a contemporary world that is no longer satisfied with the stale painterly formulae of earlier eras, however accomplished.

    Detailed Description : The Extension of Time No.1
    Ink on paper
    75 3/4 x 110 1/2 in (192 1/2 x 280 1/2 cm)

  • Wang Keping 王克平  (+)

    Biography : Wang Keping was born in Beijing, China in 1949. In 1979 he founded the Stars, an experimental artists’ collective that was born out of the atmosphere of open political activism during the “Beijing Spring.” A self-taught artist, Wang Keping is known for his rounded, stylized wood sculptures, most of which are abstractions of the female body. After carving the figures out of single blocks of beech, ash, wild cherry, maple or oak, he lightly burns and then polishes the surface of each one to produce a smooth, lustrous effect. Wang Keping has exhibited widely throughout Europe, Asia and the United States, and his work has been collected by many notable institutions such as the Ashmolean Museum at Oxford University.

    Also represented by:

  • Le Guo 郭洛  (+)

    Biography : Le Guo was born in China in 1964. He received an MA in Fine Art from the Central Saint Martins College of Art and Design, UK and a BA in Fine Art from North West Normal University, China. He was invited to exhibit his work in the UK by the Arts Council of Great Britain and the Barbican Centre in 1990. He used to teach at the British Museum, the Birkbeck, University of London. He was also invited to deliver lectures at the Sotheby’s Institute of Art, London, the Art Museum of Nanjing University of the Arts and Xi’an Academy of Fine Arts in China. The most recent solo and group exhibitions include Autocatalytic Future Games, no format Gallery, London 2015. Paradoxical Intentions, Bermondsey Square, London 2014, Nothing is Still, Aria Art Gallery, Florence, Italy 2013. Momentary Suspensions, Hua Gallery, London 2013. Re-Growing, Asia House, London 2013. Creative Cities Collection, Barbican Arts Centre, London 2012. Restless Envisioning, no format Gallery, London 2012. Painting and Object, Berkeley Gallery, Greenwich Heritage Centre, London 2012. Salon Art Prize, Matt Roberts Arts, London 2011. Le Guo lives and works in London.

    Detailed Description : Multichrome - Orange, 2015
    Ink and colour on paper
    39 1/4 x 27 1/2 inches (100 x 70 cm)

  • Chun-yi Lee 李君毅  (+)

    Biography : Chun-yi Lee moved to Hong Kong in 1970 and graduated from the Chinese University there, where he was deeply influenced by his teacher Liu Kuo-sung. Lee obtained his MFA from the Graduate Program of Fine Arts of Tunghai University in Taiwan, and he is currently a Ph.D. candidate in Chinese art history at the Arizona State University. The artist is clearly aware of his hybrid and transcultural experience, both in his art-critical outlook and in his art. Inspired by the ancient technique of Chinese ink-rubbing, he uses a small cork block to stamp the paper with variable pressure and in different directions; this creates seemingly traditional yet deconstructed landscapes. Mao Triptych: Wan Sui, Wan Shui, Wan Wan Sui is a beautiful example of Lee’s idiosyncratic visual language. Centered between a pair of traditionalist/modernistic landscapes is a huge portrait of Chairman Mao.

    Detailed Description : White Stars
    Ink on paper
    30 x 33 in (76 x 84 cm)

  • Leung Kui Ting 梁巨廷  (+)

    Biography : Leung Kui Ting moved to Hong Kong in 1948 and has held various teaching positions. In the 1990s he exhibited on the mainland and traveled there quite a bit. A figure in Hong Kong’s New Ink Painting movement that grew up around Lui Shou-kwan, Leung has experimented with many different styles that synthesize classical ink painting with modern art. However, the rocks, trees, and mountains that have been the subject of the literati painters over the past 600 years have remained his principal interest. In his series of paintings entitled Zan Zak Zen, he portrays the fantastically shaped Chinese scholar’s rocks as if they were cliffs and mountains. In another series entitled Words from Stones, magically floating mountains, again evoking scholar’s rocks, are juxtaposed with finely drawn diagrams and graphs, thus creating a world of tension, as well as resolution, between old and new. have remained his principal interest. In his series of paintings entitled "Zan Zak Zen", he portrays fantastically shaped Chinese scholar's rocks as if they were cliffs and mountains. In another series entitled "Words from Stones", magically floating mountains, again evoking scholar's rocks, are juxtaposed with finely drawn diagrams and graphs, thus creating a world of tension, as well as resolution, between old and new.

    Detailed Description : Zak Zen, No. 1216
    Chinese ink on silk
    39 ¼ x 55 in (100 x 140 cm)

  • Li Jin 李津  (+)

    Biography : Li Jin is one of the best-known and most unorthodox ink painters in the so-called New Literati group of ink painters. Before his study in the Painting Department at the Tianjin Academy of Fine Arts, where he now teaches, Li studied dyeing and weaving at the Tianjin Academy of Arts and Crafts, which partly explains his mastery of pattern and color. Li Jin gradually formed his uniquely playful style in the early 1990s and is now famous for his seductive depictions of the good life. In contrast to the formality and stereotyped subjects of historical literati painting—often derived from famous texts, pictures by earlier masters, or both—food and wine and the simple things in today’s life are Li’s subject matter. The Falstaffian figure that appears repeatedly in his work is modeled on himself, and the flirtatious, enticing young women are the artist’s ideal of female beauty. is modeled on himself, and the flirtatious, enticing young women are artist’s ideal of female beauty.

    Detailed Description : Li's Little Brother
    Ink and colour on paper
    16 ½ x 16 ½ inches (42 x 42 cm)

  • Li Xubai 李虚白  (+)

    Biography : Born in 1940, Li Xubai moved to Hong Kong in 1979, where he has been the editor of art magazines such as "The World of Collectors" and "Dragon Roots Art Magazine". Li moved to Canada in 1996, where he now lives. Although he first taught himself western-derived painting, Li began to study Chinese classical literature, poetry and landscape painting in the 1960s. His paintings are constructions of landscape elements without a specific relationship to any one geographical site. Li Xubai maintains his connection with the contemporary world by creating a seemingly flat pictorial space and a pixilated effect that reminds digital media. By choosing to paint in a classically derived style, Li Xubai asserts his cultural identity while working in a foreign land. The poems he inscribes on his paintings in traditional literatus fashion usually mention his foreign residence, echoing numerous inscriptions by painterly predecessors who wistfully invoked their own political exile.

    Detailed Description : Early Spring, 2010
    Ink and colour on paper
    95 3/4 x 97 1/3 in (243 x 247 cm)

  • C.X Li  (+)

    Biography : 1982 - Graduated from Central Academy of Fine Arts of China; appointed teacher in the Chinese Painting department of the Central Academy of Fine Arts 1986 - Awarded the prize of ‘most outstanding painting’ at the Beijing Artists’ Exhibition of China, and at The Sixth National Art Exhibition of China, Chinese National Fine Arts Museum 1988 - Moved to England as a professional artist

    Detailed Description : Autumn Bamboo
    Ink and colour on paper
    36 ½ x 47 ¾ in (93 x 121 cm)

  • Liu Qinghe 刘庆和  (+)

    Biography : Liu Qinghe graduated from the Tianjin Academy of Arts and Crafts in 1976 and later received graduate training from both the Folk Art Department and the Chinese Painting Department at the Central Academy of Fine Arts. Over the years, Liu has sought to find ways to make ink painting relevant to contemporary life and has created a series of paintings that focus on fleeting moments in people’s daily lives. His broad brushstrokes and vivid draftsmanship, derived from the long tradition of the conceptual sketch (xieyi) style, are used to enhance his depiction of the reality of individual human beings grappling with the hard realities of industrializing China. Water is a frequent subject in Liu Qinghe’s paintings. Depicting the isolation and helplessness of the swimmers in the water, Liu evokes the crisis and pressure that people undergo in contemporary society.

    Detailed Description : Yi Yan, 2007
    Ink and wash on paper
    118.11 x 35.43 in (300 x 90 cm)

  • Liu Kuo-sung 刘国松  (+)

    Biography : Liu Kuo-sung is universally recognized as one of the earliest and most important advocates and practitioners of modernist Chinese painting. He moved to Taiwan from China in 1949 and in 1956 graduated from the Fine Arts Department of the National Taiwan Normal University, in which he studied both traditional brush-and-ink and Western-style painting techniques. As one of the co-founders of Taiwan’s Fifth Moon Painting Society (Wuyue huahui) in 1957, Liu Kuo-sung sought a new approach to art, which was inspired by both traditional Chinese painting as well as modern styles and techniques, such as Abstract Expressionism. By the mid-1960s, Liu gradually developed his own pictorial formulae, in which he combines ink painting with collage and applies ink and color on special paper.

    Detailed Description : Autumn Landscape, 1965
    Ink on paper
    36 ½ x 23 ½ in (92.3 x 59.8 cm)

  • Liu Dan 刘丹  (+)

    Biography : Liu Dan has emerged as one of the most gifted of a particularly talented generation. He studied the Confucian classics, poetry, painting, and calligraphy from his grandfather at an early age. After the Cultural Revolution, Liu studied traditional painting at the newly reopened Jiangsu Academy of Chinese Painting, Hangzhou. He moved to Hawaii when he married an American woman in 1981. There, he studied western art and matured as a painter. Liu Dan moved to New York in 1992, and after fourteen years he returned to China in 2006. Both his training in traditional Chinese art and philosophy and his experience in the United States have greatly contributed to his sophisticated and very personal style. Liu Dan’s ink paintings, whether of landscapes, scholar’s rocks, or cypress trees, are all fastidiously conceived, complex works which highlight his concern to emphasize underlying compositional structure over virtuoso expressions of showy brushwork.

    Detailed Description : Old Cypress from the Forbidden City, 2007 Ink on xuan paper, 102 x 54 in (259.1 x 137.2 cm)

  • Whitney McVeigh  (+)

    Biography : Whitney McVeigh lives and works in London. She is a Fellow in Creative Practice at University of the Arts, London. In 2008 she was nominated for the Sovereign European Art Prize by Saatchi Gallery Director, Rebecca Wilson. Her recent exhibitions include a solo installation at St Peter’s Church, Kettle’s Yard, Cambridge (2015) and ‘Birth: Origins at the end of life’ at Kurashiki University of Science and the Arts, Okayama, Japan (2015). Her participations to group exhibitions include Glass Stress, White Light/White Heat at the 55th Venice Biennale (2013) and Unlocking the Diary: Archiving of Nameless Memories’ at Folkestone Fringe for Folkestone Triennial (2014) as well as moving image for Extinction Marathon at the Serpentine Gallery (2014). She has lectured and held discussions internationally including The Royal Academy of Arts, London (2015) and presentation of her work at Louise Bourgeois Salon in New York.

    Detailed Description : Infinite Space
    Ink on paper
    30 x 22 in (76 x 56 cm)

  • Glenn Palmer-Smith

    Biography : Born in 1941, Palmer-Smith is based in New York and is critically acclaimed in particular for his spectacular, detailed murals throughout the city. He holds B.A. and M.A. degrees in Fine Art and Art History from Central Michigan University and Wayne State University in Detroit, and an M.F.A. degree from the University of Utah. He began photography after university and quickly became one of the most renowned fashion photographers worldwide, living and working in Paris and shooting for major publications such as Elle, Marie Claire and British Vogue. He moved back to New York after the birth of his first son. He went on to paint murals throughout New York and published a book called 'Murals of New York City', which has been immensely successful. He has just completed a mural at the Christopher Newport University in Virginia and currently teaches at the New School in Greenwich Village.

  • Qiu Jie 邱节  (+)

    Biography : Qiu Jie started to learn painting by copying illustrations of the Red Guards in newspapers at the age of ten. In 1981, he graduated from the School of Decorative Arts in Shanghai and began to work as an art designer in the Shanghai Instrument Factory. In 1989, recommended by two Swiss artists, Qiu Jie studied of multimedia art at the School of Fine Arts in Geneva. Currently living and working in China, France, and Switzerland, Qiu uses the simplest tools, graphite pencil and paper, to express his concern about the life experience of the generation in China who went through the Cultural Revolution. Signing with the sobriquet “The Mountain Man Who Lives Outside His Hometown” (Taxiang shanren), Qiu Jie’s works connect his accomplished draftsmanship to the style of the propaganda posters from the Cultural Revolution era.'s works connect his accomplished draftsmanship to the style of the propaganda posters from the Cultural Revolution era.

    Detailed Description : Contemplation of Plum Blossoms
    Pencil on paper
    39 1/3 x 55 1/4 in (100 x 140 cm)

  • Tong Yangtze 董阳孜  (+)

    Biography : Tong Yang-tze studied calligraphy with her father when she was a child. She received her BFA from the National Taiwan Normal University and later studied oil painting and ceramics at the University of Massachusetts, where she received an MFA degree in 1970. Tong, who currently lives and works in Taiwan, has gradually developed her own visual language that benefits from her previous training in different mediums and art-forms. Tong creates powerful calligraphic works in cursive style (caoshu) that reach toward the extremes of abstraction. Characters are dramatically distorted but usually remain decipherable so that there is a sustained dialogue between content and style, meaning and autonomous gesture. Variations in the width and character of the lines/strokes serve to sustain the effect of movement generated in the execution of each character and contribute to dramatic overall visual effects.

    Detailed Description : Gao Shan Liu Shui (Your Spirit Stands as High as a Mountain and Broad as the Flowing Waters; Bosom Friends Are Like High Mountains and Waters)
    Ink on xuan paper
    54 ¼ x 98 ½ in (138 x 250 cm)

  • Katie Vajda  (+)

    Biography : Born in Sydney, Australia in 1976, Vajda studied a Bachelor of Business before studying photography at the Hong Kong Art School. ‘Can You See Me Yet?’ explores the visibility of domestic helpers within the social fabric of Hong Kong’s middle-class households. The pressing social issues related to domestic helpers and the pervasive culture of abuse runs deep. The works question whether the concept of ‘luxury’ would humanise the helper so that she may become visible or if it would only ever remain a reference to social status and power within this complicated domestic framework. ‘The Body Domestic’ looks at the female body within the built environment of Hong Kong. Our socialisation involves the transformation of bodies into a location for, and expression of, codes of behaviour. This series looks at the rationalisation and sensory deprivation experienced in the physical space and how modern environments and ways of life work to numb bodily awareness.

    Detailed Description : Can You See Me Yet? 1 2014 Photographic print on rag paper 19 3/4 x 30 inches (50 x 76 cm)

  • Wang Dongling 王冬龄  (+)

    Biography : Wang Dongling is one of the most successful and gifted of the modernist calligraphers in China and one of the few who has for many years enjoyed an international reputation. At 17, he was admitted into the Department of Fine Arts at Nanjing Normal University and studied calligraphy. During the Cultural Revolution, Wang survived by writing big-character posters, a job that ironically provided him with an artistic freedom not available at the university. After the Cultural Revolution, he attended the Zhejiang Academy of Fine Arts in Hangzhou, where he is currently vice-chair of the Calligraphy Department. Wang began developing a new form of composition that synthesizes traditional Chinese aesthetics with modernist art. Usually, there are no decipherable Chinese characters in his works, which have become closer to abstract painting than to calligraphy. Wang Dongling has been enormously influential on the whole development of contemporary calligraphy and ink painting.

    Detailed Description : I-Ching - Da Zhuang
    Ink on paper
    70 ¾ x 37 ¾ in (180 x 96 cm)

  • Wang Tiande 王天德  (+)

    Biography : Wang Tiande is one of the most innovative calligraphers in China: he recently created calligraphic works by the planting of new grass or by having sheep eat grass away in the shape of characters. A graduate of the Chinese Painting Department at the Zhejiang Academy of Fine Arts in 1988, he is now dean and professor at the Art and Design Department at Fudan University in Shanghai. Wang’s art is a serious meditation on the precarious relation between permanence and fleeting efflorescence, between the material and the immaterial, between past and present, between tradition and contemporaneity. He started to create his Digital series when he was on an artist’s residency in Paris in 2002. His direct encounter with contemporary art, especially conceptual art, in Paris, not only inspired him to new approaches in his own work but also further convinced him of his love for the language of ink.

    Detailed Description : Digital No09-MH81, 2009
    Xuan paper, ink, burn marks
    71 1/4 x 24 1/4 in (181 x 61 1/2 cm); 24 1/3 x 8 1/2 in (62 x 21 1/2 cm)

    Also represented by:

  • Wei Dong 魏东  (+)

    Biography : Born in 1968 in Inner Mongolia, Wei Dong, like many other intellectuals of his generation, endured the most oppressive period of the Cultural Revolution. Unafraid to create works that boldly depart from convention, Wei Dong’s audacious and androgynous nudes are placed within a carefully constructed landscape that blends classical and modern themes, both Eastern and Western, which he has so thoroughly studied. Wei Dong is one of the most imaginative painters with an extraordinary sense of irony and the ingenuity to create innovative works that are relevant and interesting to contemporary audiences. The artist has participated in numerous shows around the world including the notable Paris-Pekin at the Espace Cardin in 2002. His works have been collected in the Dr. Uli Sigg Collection in Geneva and in the Estella Collection in New York.

    Detailed Description : My Girl #1, 2006
    Acrylic on canvas
    24 x 18 in (61 x 46 cm)

  • Wucius Wong 王无邪  (+)

    Biography : Wong moved to Hong Kong in 1938 and he started to study ink painting at the age of fourteen. He received a BFA and an MFA from the Maryland Institute College of Art in Baltimore, where he studied art and design. Wong returned to Hong Kong for teaching and curatorial work after graduation but has traveled frequently between Hong Kong and the United States. Wong explores the synthesis of traditional Chinese aesthetics, western culture, and contemporary design. His dense and mysterious landscapes, often in panorama or bird’s-eye view, have succeeded in recapturing the grandeur of the Chinese monumental landscape of the 10th and 11th centuries. At the same time, his subtle and complex sense of design and resourceful lighting produce works of striking originality and contemporary relevance. He is an inspired teacher whose influence is apparent in much of the experimental work being produced in Hong Kong to this day.

    Detailed Description : Sky-Land Expression 1, 2007
    Ink and colour on cotton with silk margin
    78 x 39 in (198 x 99 cm) each panel
    Signed on the lower left corner

  • Wing Wong 黃穎賢

    Biography : Wing Wong was born in Hong Kong in 1964 and studied art photography in Arizona during the mid-80s. After obtaining his diploma he returned to his homeland and started to work as a freelance photographer. In 2006 Wong quit all his commercial photography jobs as he failed to agree with the ideas from clients about 'beauty', and re-erected a traditional darkroom for himself. Since then he has concentrated exclusively on art photography. All his frames were shot on film and hand-printed on gelatin silver paper by Wing Wong himself.

  • Tai Xiangzhou 泰祥洲

    Biography : Tai Xiangzhou (b. China, 1968) graduated with his Doctorate from the Art Academy of Quinghua and has studied ink painting under Liu Dan since 2005. He is currently in the collections of the Asian Art Museum of San Francisco, San Francisco, CA; the Arthur M. Sackler Museum of Art and Archaeology at Peking University, Beijing, China; Arthur M. Sackler Museum, Harvard University, Cambridge, MA; Brooklyn Museum, Brooklyn, NY; and The Art Institute of Chicago, Chicago, IL. In 2006, Tai was profoundly inspired by renowned astrologer, Yi Shitong, and began to explore the view of universe and spiritual world in Chinese landscape paintings from an astrology perspective. He completed his PhD dissertation entitled, “Phenomena of the Universe-The concepts and structure of Chinese landscape paintings”. This work was highly admired by renowned art historian, Fang Wen, who recommended the book in the preface and pushed for publishing by the Zhonghua Book Company. Tai began his art training from studying ancient Chinese landscape paintings. He uses the grand, unrefined Yuan style ink strokes to depict the landscape layout of the Five Dynasties and Northern/Southern Song Dynasties, revealing serenity and spirituality in majesty and grandeur. He currently lives and works in Beijing.

  • Xu Lei 徐累  (+)

    Biography : Xu Lei studied Chinese ink painting at the Department of Fine Arts of Nanjing Art Academy and was a professional painter affiliated with the Jiangsu Institute of Chinese Painting. Based in Bejing, he now works at the Graduate School of the China Art Academy, serves as the art director of the Today Art Museum, and is editor-in-chief of the magazine Classics. Xu was an active participant in the innovative art movements in China in the late 1980s. He returned to ink painting in the 1990s. Well-versed in the classic fine-line (gongbi, detailed and elaborate) style of painting and influenced by traditional art, principally Song painting and woodcut illustrations from the Ming period, as well as by Surrealism and conceptual art, Xu Lei’s beautiful paintings rarely incorporate human figures. His work was included in the major 1998 exhibition A Century in Crisis: Modernity and Tradition in the Art of Twentieth-Century China organized by Julia F. Andrews and Kuiyi Shen at the Guggenheim Museum in New York.

    Detailed Description : Flower, Sky and Water Land, 2003
    Signed Print, Edition 17/86
    29 x 22 1/2 in (74 x 57 cm)

  • Yang Yanping 杨燕屏  (+)

    Biography : Yang Yanping is one of the most distinguished contemporary ink painters from China. She studied architecture at Tsinghua University, where she married one of her painting teachers, Zeng Shanqing. After she graduated in 1958, and a brief spell of teaching factory design, Yang decided to study art at the Oil Painting Department of the Beijing Art Academy. At the same time, she studied traditional Chinese painting on her own. In 1986, both Yang and her husband were awarded fellowships from the State University of New York at Stony Brook, and they have remained in America ever since. Yang is well versed in many traditional styles but has excelled in depicting the lotus flower, a symbol of purity, transience, the fragility of nature, and the potential for regeneration. Yang’s ideals of high visual quality and an artistic autonomy allows her to embrace modernism without jettisoning the lessons from the classical Chinese world of high culture.

    Exhibition : Selected Solo Exhibitions 2004 Goedhuis Contemporary, New York, USA 2003 Peter Findlay Gallery, New York, USA 2001 Goedhuis Contemporary at Dickinson Roundell Inc, New York, USA 1999 Michael Goedhuis, Beverly Hills International Art and Antique Fair, USA 1998 Michael Goedhuis in association with Beadleston Gallery, New York, USA 1997 Michael Goedhuis, London, UK 1995 Godfrey Far Eastern Art Gallery, London, UK 1994 Fine Art Center, Roperhof Gallery, Hamburg, Germany 1993 BAWAG Foundation Art Gallery, Vienna, Austria Alisan Fine Arts Gallery Ltd., Hong Kong, China 1992 Takashimaya Art Gallery, Tokyo, Japan 1991 Alisan Fine Arts Gallery Ltd., Hong Kong, China 1990 Takashimaya Art Gallery, Tokyo, Japan 1985 Chinese Artist’s Gallery, Chinese National Fine Arts Gallery, Beijing, China Selected Two-Person Exhibitions 1995 Yang Yanping and Zeng Shanqing, Shelter Rock Gallery, New York, USA Yang Yanping and Zeng Shanqing, Plum Blossoms Gallery, Singapore 1994 Yang Yanping and Zeng Shanqing, Godfrey Far Eastern Art Gallery, London, UK 1988 Yang Yanping and Zeng Shanqing, Jewish Cultural Center, New Jersey, USA 1986 Yang Yanping and Zeng Shanqing, Fine Arts Center Gallery, SUNY, Stony Brook, New York, USA Yang Yanping and Zeng Shanqing, Neumarkt, Austria Two person exhibition, Heistand Gallery, Miami University, Oxford, Ohio, USA 1985 Two person exhibition, BAWAG Foundation Art Gallery, Vienna, Austria 1983 Art from Beijing: A Chinese Couple, Merrill Lynch Futures Inc Gallery, New York, USA Selected Group Exhibitions 2007 Made in China, Louisiana Museum of Modern Art, Humlebæk, Denmark 2006 International Fine Art and Antique Fair, Palm Beach, Florida, USA Art20, New York, USA International Fine Arts and Antiques Dealers Show, New York, USA 2005 Contemporary Art from Greater China, Goedhuis Contemporary, New York, USA International Fine Art and Antique Fair,

    Detailed Description : Glorious Autumn, 2012
    Ink and colour on paper
    48 x 96 1/2 in (123 x 245 cm)

  • You Si 游思  (+)

    Biography : Born in Beijing in 1954, You Si studied both at the Shanghai Theater Academy as well as at the Anhui Province School of Arts. Having recently returned to Shanghai after living in New York since the 1980s, You explores new possibilities of ink painting by using an eyedropper to deploy colors and ink on xuan paper. Vibrant, dramatic, and strikingly fresh, his works are filled with surreal and invented landscapes which can also be read as bustling mitochondria, dense jungles, or organisms interacting with each other in an ever-changing environment. You builds up imaginative spaces in multiple synchronicities, and his mastery of composition and deft control of color, linked with his discarding of the traditional brush, have led to a body of work of singular originality.

    Detailed Description : Blossom, 2009
    Coloured ink on xuan paper
    48 1/2 x 49 in (123 x 124 1/2 cm)

  • Yuan Jai 袁旃  (+)

    Biography : Yuan Jai studied Chinese painting at the National Taiwan Normal University and received her MA degree from the Catholic University of Leuven in 1966. In1968 she received her doctorate from the Royal Institute for the Preservation of Cultural Artifacts. Yuan’s early interest in Art Deco, Art Nouveau, Cubism and Surrealism were fundamental to her later stylistic development. Upon returning to Taiwan, Yuan Jai worked for decades in the Department of Antiquities at the National Palace Museum in Taipei. Her own paintings were originally inspired by landscapes in thick mineral pigments and often with primitive-looking or archaistic compositions, in the so-called blue-and-green style, which were often on display at the museum. The main pictorial source for her work has been examples of the master paintings in the museum, but Yuan Jai has integrated her own very contemporary structure to create artworks that have been streamlined into geometric elements of vibrant color.

    Detailed Description : Spring Picturesque, 1997
    Ink and colour on silk
    69 x 36 in (175 x 91.5 cm)

  • Zeng Shanqing 曾善庆  (+)

    Biography : Zeng Shanqing graduated from the Central Academy of Fine Arts, where he studied under the distinguished painter Xu Beihong (1896–1953), whose ideal of combining Chinese ink painting with European styles of realistic drawing has deeply influenced Zeng. After finishing his graduate school in 1952, Zeng taught at the Central Academy. From that time, Zeng also lectured in the Department of Architecture at Tsinghua University; there he met and married his wife, the painter Yang Yanping. Zeng’s career was disrupted by the Cultural Revolution in the mid-1960s, and he was not able to resume teaching and painting until 1976. In 1986, both Zeng and his wife went as fellows to the State University of New York at Stony Brook, and they have remained on Long Island ever since. Like his teacher, Xu Beihong, Zeng Shanqing’s best-known subject is the horse. His powerful brushwork and dynamic compositional rhythms embody his profound sympathy for the values of political liberty.

    Detailed Description : Control, 2007
    Ink and colour on xuan paper
    38 x 49 1/2 in (96 x 126 cm)

  • Zeng Xiaojun 曾小俊  (+)

    Biography : Zeng Xiaojun graduated from the Central Academy of Fine Arts in 1981. He moved to the United States in 1983 and lived for the next fourteen years in Boston, where he exhibited and taught until 1997. Drawing inspiration from the literati landscape painting tradition, especially works by Shen Zhou (1427–1509) and Wen Zhengming (1470–1559) of the Ming period, Zeng extracts rocks and trees from the context of landscape and depicts them as isolated objects. Employing a delicate balance between dry and wet, lines and dots, his meticulously executed paintings remind us of the Chinese intellectuals’ fascination with these subjects as embodiments of their own spiritual perseverance in times of difficulty and turbulence. Together the work of Liu Dan, Zeng Xiaojun’s ink paintings are a powerful example of how the high culture of traditional China can be reinvigorated for contemporary society.

    Detailed Description : Beijing Jietai Temple: Ancient Pine Tree, 2006
    Ink and colour on paper
    67 1/4 × 88 1.4 inches (171 x 224 cm)

  • Zhang Zhaohui 张朝晖  (+)

    Biography : Born in Hebei, China in 1965. Lives and works in Beijing as both an artist and curator.

    Detailed Description : Summer Mountain Series
    Ink on xuan paper
    48 3/4 x 31 (124 x 79 cm)

  • Qiu Zhijie 邱志杰  (+)

    Biography : Qiu Zhijie is one of the most talented and versatile artists in contemporary China. He studied printmaking at the Zhejiang Academy of Fine Arts, Hangzhou, and graduated in 1992; teaching there now, he is one of the most influential exponents of new media in China. Qiu’s often-conceptual works come in photography, video, performance, stone-carving, painting, or calligraphy; he is also an influential curator, critic, and teacher. Many of his works deeply explore the nature and meaning of the cultural tradition he has inherited. For Monument I: Revolutionary Slogans on Economic Issues, 2007, Qiu utilized one of the most traditional techniques—ink rubbing—to convey slogans exploring public involvement in economic development. The ironic mixture of an ancient method of transmitting texts with contemporary content provokes people to rethink the relationship between tradition and today’s society.

    Detailed Description : Song Dynasty Poem: Huang Tingqian: Where is the Spring?
    Ink on xuan paper
    50 x 26 ¾ in (127 x 68 cm)

  • Zhu Daoping 朱道平  (+)

    Biography : Zhu Daoping graduated from the Fine Arts Department of Nanjing Art Academy in 1977. In 1973, Zhu’s paintings were first exhibited in the annual national art exhibition, and since 1998 he has been the Nanjing Institute of Calligraphy and Painting’s president. In 2004, he received the first prestigious Huang Binhong Award, named for the leading literati painter of the early 20th century. Having grown up near Nanjing, Zhu’s art is closely related to the New Jinling (Nanjing) School, painters deeply influenced by Fu Baoshi (1904–1965), who revivified the local landscape tradition of southern China and the Yangzi River. While the dotted surfaces in his paintings are reminiscent of the style of earlier Nanjing masters such as Mei Qing (1623–1697) and Shitao (1642–c. 1707), Zhu goes further by rediscovering and emphasizing the relationship between dots, lines, and the pictorial surface: he has created a modern aesthetic that is still rooted in the long Chinese tradition of painting.

    Detailed Description : Autumn Wind Blows on the Leaves
    Ink on rice paper
    25 1/2 x 25 1/2 in (65 x 65 cm)


Michael Goedhuis specializes in Chinese contemporary ink painting and contemporary Chinese sculpture


Michael Goedhuis w:  http://www.michaelgoedhuis.com Michael Goedhuis Hettie Reatchlous Judy Govindsamy