Chen Ping by MiFA gallery

CHENPING

INTRODUCTION BY MIKALA TAI AND BRYAN COLLIE

CHENPING

IN CONVERSATION WITH CHEN PING BY MIKALA TAI AND LOUISE JOEL

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

May 19 – June 24 2011

BY PROFESSOR WONG SHIU HON

WORKS THE BOOK OF SONGS Broken Hearted 1

Broken Hearted 2

Broken Hearted 3

Broken Hearted 4

Broken Hearted 5

An Ancient Dream1

Confucius

Other Realities

Victoria, Australia

Metaphysics 1

w w w.mifa.com.au

Metaphysics 2

+61 3 9663 3304

Metaphysics 4

Metaphysics 5

Metaphysics 6

Metaphysics 7

Metaphysics 8

Melbourne International Fine Art (MiFA) Level 1, 278 Collins St,

XUAN

Melbourne, 3000

Curators: Bryan Collie and Mikala Tai Public Programs: Louise Joel

VARIOUS WORKS

Education Officer: Nicole Anderson Design: Plug2Studio, Melbourne

Man with Big Beard

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

Girl Who is Seventeen

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

General

The Myth of Mountain and Sea 2

Hand from Red Reaching Out Her in White

Protestors

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

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.

BIOGRAPHY

INTRODUCTION 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

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

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,

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.

At that school the style would have been very traditional?

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

in conversation with Chen Ping

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.

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.

MIKALA TAI AND LOUISE JOEL

in conversation with Chen Ping

MIKALA TAI AND LOUISE JOEL

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

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.

Reality A + Reality B = Reality C

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 –

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.

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:

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.

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.

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.

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.

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.

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

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

Professor Wong Shiu Hon

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

Professor Wong Shiu Hon

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

Wo rk s

Th e B ook of S ongs

210 x 180 cm

Broken Hearted 1, 2010 Oil on canvas

Broken Hearted 1

182.8 x 152.5 cm

Broken Hearted 2, 2011 Oil on canvas

Broken Hearted 2

182.8 x 152.5 cm

Broken Hearted 3, 2011 Oil on canvas

Broken Hearted 3

182.8 x 152.5 cm

Broken Hearted 4, 2011 Oil on canvas

Broken Hearted 4

182.8 x 152.5 cm

Broken Hearted 5, 2011 Oil on canvas

Broken Hearted 5

210 x 180 cm

An Ancient Dream1, 2010 Oil on canvas

An Ancient Dream1

182.8 x 152.5 cm

Confucius, 2010 Oil on canvas

Confucius

152.5 x 122.8 cm

Other Realities, 2010 Oil on canvas

Other Realities

Xuan

182.8 x 152.5 cm

Metaphysics 1, 2011 Oil on canvas

Metaphysics 1

182.8 x 152.5 cm

Metaphysics 2, 2011 Oil on canvas

Metaphysics 2

182.8 x 152.5 cm

Metaphysics 4, 2011 Oil on canvas

Metaphysics 4

182.8 x 152.5 cm

Metaphysics 5, 2011 Oil on canvas

Metaphysics 5

152.5 x 122.8 cm

Metaphysics 6, 2011 Oil on canvas

Metaphysics 6

152.5 x 122.8 cm

Metaphysics 7, 2011 Oil on canvas

Metaphysics 7

152.5 x 122.8 cm

Metaphysics 8, 2011 Oil on canvas

Metaphysics 8

Various Work s

182 x 152 cm

Man with Big Beard 2007 Oil on canvas

Man with Big Beard

182 x 152 cm

Girl Who is Seventeen 2008 Oil on canvas

Girl Who is Seventeen

182 x 152 cm

General 2008 Oil on canvas

General

210 x 180 cm

The Myth of Mountain and Sea 2, 2011 Oil on canvas

The Myth of Mountain and Sea 2

182.8 x 152.5 cm

Hand from Red Reaching Out Her in White, 2011 Oil on canvas

Hand from Red Reaching Out Her in White

182.8 x 152 cm

Protestors, 2008 Oil on canvas

Protestors

BIOGRAPHY

Chen Ping

Education »»

1997 Bachelor of Fine Arts (Painting), University of Tasmania, Australia 1985 Bachelor of Fine Arts (Education), Guangzhou Academy of Fine Art, China

BORN 1962 Shantou China Works in Beijing

Residences »»

2008 Resident Artist, Red Gate Gallery, Beijing, China 1999 Resident Artist, Salamanca Arts Centre, Hobart, Australia

Selected Awards and Grants

and Australia

»»

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 Art Equity, Sydney, Australia Australian Consulate General, New York, USA 2009 Salamanca Collection, Hobart, Australia Art Equity, Sydney, 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 Art Equity, Sydney, Australia Salamanca Collection, Hobart, Australia 2006 Salamanca Collection, Hobart, Australia 2005 Salamanca Collection, Hobart, Australia Northern Exposure Festival, Melbourne, Australia 2004 Salamanca Collection, Hobart, Australia 2003 Salamanca Collection, Hobart, Australia Salamanca Arts Centre, Hobart, Australia Shantou University Gallery, Guangdong, China

2002 Salamanca Collection, Hobart, Australia

2001 Salamanca Arts Centre, Hobart, Australia Loft Gallery, Hobart, Australia Salamanca Arts Centre, Hobart, Australia 2000 Foyer Installation Gallery, Hobart, Australia

Selected Collections »»

Guangzhou Academy of Fine Art, China White rabbit Contemporary Chinese Art Collection, Sydney, Australia

Selected Group Exhibitions »»

Guangdong Museum of Art, China

Davis Museum, Barcelona, Spain

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

Popov Private Collection, Moscow, Russia

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

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

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

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

Selected Publications »»

2011 Tim Phelan, 50 Contemporary Artists,

Amazon, USA

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

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

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

Beijing International Art Fair, Beijing, China

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

2009 Melbourne Art Fair, Melbourne, Australia

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

Hong Kong International Art and Antique Fair, Hong Kong

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

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

China

MuseoKarura Art Centre, Spain

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

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

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

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

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

USA

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

Coming Home, Linda Gallery, 798, Beijing, China

sity, Guangdong, China

Australian Contemporary Art, Hong Kong

1985 Artworks by Students of Guangzhou Academy of Fine Art,

Try to Remember, Osage SoHo Gallery, Hong Kong

Series of National Acad-

emies of Fine Art, Beijing, China

2008 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 East Sydney Scenes, The Watercolour Gallery, Sydney, Australia 1990 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,

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

Guangzhou, China

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

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

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

1989 Member of Chinese Artists Association, China

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

1986 -1990 Member of Shantou Painting Society, China

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

1985 -1990 Assistant Lecturer, Shantou University, Guangdong, 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

Other Activities »»

2003 Co-curator, Out of China, Long Gallery, Salamanca Arts Centre, Australia Co-curator, Tasmania Vision, Shantou University Gallery, 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