Tan Ping and his "Drawing": a Brief Review

Abstract art has a deeper root in the Chinese tradition than other imported forms. In history, Chinese literati painters managed to create a schema beyond craftsmanship representation. The final cream is the landscape genre, which was developed by Huang Binhong (1865-1955) to a new height in the 1930s. Huang is hailed as the master to distill the very spirit from Chinese ink paintings into creating near-purified shades and patterns of their standalone beauty. It wasn’t abstract art yet, but very close. No one would deny that if his footsteps are followed without disruption, the future of Chinese ink paintings would be total abstraction. In this scenario, Chinese and Western art would finally greet each other and may even merge into a joint movement.

But the narrative of history turns out to be a version more complicated than that. Now, Chinese abstract painters, when they look back into history, have to painfully admit that they have inherited more from the Western tradition than Chinese. Nevertheless, it is still pleasing to view their works from a contemporary art angle, although their Chinese identity is sometimes vague. In this sense, Tan Ping (b. 1960), a long time practitioner of abstract art in China, is no exception. His latest works, as exhibited at Beijing-based Ginkgo Space, serve as a reminder of the Western abstract convention - chromatic patches, stripes, grids, drips and so forth juxtaposing each other. Inevitably familiar at first glance. But then all the elements in play begin to resonate with viewers, in a milieu anchored by Tan's intellectual and emotional experiences. Tan explains his path of revelation as a progress from representation to self-expression, and finally the seeking of joy in painting itself.

Tan's works, invariably, accord with the above framework. He combines both intellectual and instinctive approaches in making his art. This is evident, as, in most cases, the composition is carefully arranged; while some other elements are subject to spontaneous impulses. In this way, spirituality is still the emphasis (which is inseparable to Tan's academic background), without emotion and sensation being sacrificed (which is probably inherited from the Chinese art tradition). By applying pigments layer upon layer, he renders his works with time-lapsing effect. Whatever he tries to communicate, the language he uses is only partially visible, with the rest hidden beneath the surface. The canvas is a mere tool to document this creative process.

Tan Ping, The Story of Peach Blossom Spring, 2015, acrylic on canvas, 160 x 200cm.

Tan Ping, Pain, 2015, acrylic on canvas, 300 x 400cm.

Tan Ping, Intruder - Blue, 2015, acrylic on canvas, 80 x 100cm.

More information about the exhibition:

“Drawing”

Ginkgo Space

No. 40, Xinzhong Jie, Dongcheng District, Beijing

Duration: June 13th - August 13th, 2015

www.ginkgspace.cn/en