Born in Yueyang , Hunan province in 1977 He graduated from the Department of Traditional Chinese Painting of Sichuan Academy of Fine Arts in 2002 with a bachelor’s degree.He graduated from Hu Wei Comprehensive Materials Studio of National Academy of Painting in 2018.Now working and living in Xiamen, Beijing, freelance painter.
Borders are redefined in this globalized and networked age. The boundary of Culture and art have been breached. As an art form and culture value, ink painting cannot be confined to a regional monolingual state. What we are facing in this age is not only our own traditions but also the multiculture of globalization. Ink painting plays an important role in the process of internationalization and contemporary transformation. The uniqueness of ink art is also the specific identity of Chinese artists in the international context. Traditional ink painting has been lost in the present context. Our own tradition’s re-understanding about the ink art should be with a new aesthetic vision and the concept of the times should be integrated into the thinking of contemporary culture, and then realize traditional ink’s transformation in contemporary world. To find an effective art form in the contemporary context, and participate in the extensive international cultural exchanges with a different ethnic identity. At the intersection of eastern and Western cultures, we need rethink the possibility of ‘recreate’ of ink painting in contemporary.
‘Re-create‛ is not repeat but overturn, It is to re-explore and re-learn and re-create the traditional culture in the current cultural background.
Chen Jun says:’ My work is based on our own cultural gene ‘Chinese ink’, I try to return to the origin to find a common and also personal drawing language to intervene in the multicultural context of today’s globalization. Ink painting is not an end, but a way of thinking.
There is a link between my painting language “spot” and the traditional ‘Cun’. The ‘Cun‛ in traditional Chinese landscape is a kind of artistic language which is extracted by the artist’s natural and inner aesthetic. This language is an art language that transcends technology and has a spirit of life. I paint in layers of ink spots, over and over again. The experience of this way of life is also like spiritual practice. It seems there is a spiritual connection with traditional Cun. The traditional Cun is corresponding to the farming culture, but now it is a material age under the industrial civilization. The spiritual experience brought by this ink spots of mine is more like a kind of life experience of nothingness and Utopia. The humanistic spirit represented by the traditional landscape is only a body and symbol at this moment, but I am not tired of dealing with the bustling urban landscape. This inner stillness corresponds to external movement. I feel that my painting process is like an act, a sense of life. It let me rise to a philosophical experience and introspection on the sense of life existence.
In my work, I deliberately retain rice paper, writing brush and ink, these materials with strong oriental cultural genes are full of spiritual aesthetics. And in the expression, it uses the modern linguistic that melt through the East and West, which also contains the thinking of cultural heritage and the infiltration of Eastern and Western cultures. I would also like to know what sparks can collide with these works in different cultural contexts. I’m looking forward to it and I think it’s interesting and worth thinking about’.
Chen Jun had group- and solo exhibitions Xiamen, Beijing, San Jose( USA); Paris;Sydney; Shanghai, London and others and his work is collected worldwide by museums and private collectors.
This week starts a big solo show from Chen Jun titled’ The Mirrage’ in the Jindu Art Centre in Beijing.