TIE YING / Artist Statement Any record of events can ignite a fresh understanding and reevaluation of the things considered already known and maybe unknown. I want to present a new perspective on life’s dilemmas and confi rm the supremacy of freedom of thought and expression whilst demonstrating the absurdities and confl icts between them.
Tie Ying is an artist based in Beijing ( China ) and represneted by Marlborough Gallery 40 West 57th Street, New York, NY10019, Tel: 212 541 4900 Fax: 212 541 4948 E - mail: mny@marlboroughgallery.com
TIE YING’S BRAVE NEW WORLD By Jonathan Goodman
Tie Ying belongs to a generation in China that has been molded by global capitalism; born in 1971, the artist was only five years old when Mao’s Cultural Revolution ended in 1976, and like others of his generation, he tends to see a misstep in the provocative politics of the Tian An Men Square in 1989, in the sense that their leap for ward was premature. Today, given the social and cultural freedoms brought about by the gradual liberation of Chinese society, Tie has been determined to concentrate on the China of today, rather than the countr y’s concerns of the 1970s, ‘80s, or ‘90s. Noting the changes in Chinese society before and after Mao’s rule, Tie refuses to see him as purely a dictatorial leader, just as he declines to see himself as a political artist, preferring the role of a commentator on, specifically, the images flooding the printed media and television. He sees the media’s manipulation of culture not only as a Chinese, but also as a general, pan-cultural problem. Indeed, Tie is ver y clear about this, writing in response to a question of mine: “These images are about the power of the state, any state, illustrating the exercise of power, always expressed with the means of force.” Despite the political cast of these pictures, Tie views himself more as an artist than agitator. He writes, “My challenge is more esthetic than political.” Nonetheless, Tie is a remarkable public artist, in the sense that he has taken over for his own purposes the media’s materials, printing his powerful images on what he calls Japanese canvas. The material, which is an industrial fabric used for the large billboards in Beijing, is soft to the touch and readily available to receive images in color, being at the same time highly durable and strong; on it he prints his disturbing images, taken from both magazines and television, of uniformed bureaucrats and humiliated criminals who speak to a conception of China that is troubling to viewers concerned with justice, even for criminals, who, as Tie says, “...are at that moment also victims of evil.” Tie’s imaginatively empathic response to what he is shown by the media is emphasized by his comprehensive treatment of the picture – he changes colors, contrasts, and textures in a way that is quite painterly (the artist graduated in 1992 from the oil painting department of the Central Art Academy in Beijing). The issues in Tie’s art balance out between their content and their physical presentation as images. Tie writes assertively about the complications of such an equivalence: “I want to present a new perspective on life’s dilemmas and confirm the supremacy of freedom of thought and expression whilst demonstrating the absurdities and conflicts between them.” This is why his art is an esthetic treatment of public life. In light of this conception, the pictures are beautiful even when they take on an allegorical role, as happens when the images seem light-hearted and demonstrative of simple fun, as in the triple image of Flower Kid, a smiling boy in a red T-shirt selling flowers. In this guileless, likable picture of a young boy enjoying himself we see an experience not influenced by official culture. At the same time, it is wise to remember that the best way to level authoritarianism is not to take it seriously and offer the direct rewards of happiness or humor as an alternative to power. The boy selling flowers is no longer a small child, but neither is he an adult subscribing to the status quo. He is, instead, bridging the gap between innocence and experience, doing so in a way that resists the massive facelessness of the Chinese bureaucracy.
Tie’s show, entitled State Power, has a series of images that go under the same name. State Power-Triptych is a powerful essay on power – and powerlessness. On the left an accused woman, her head bent down, seemingly in shame, stands before a female policewoman; in the middle panel is a shot of male and female functionaries sitting in a group, each of them dressed in a dark blue uniform. And on the right it appears that a condemned man stands with his arms bound behind his back, staring, with both resignation and a touch of defiance, out into space as two uniformed policeman maintain a deadpan pose behind him. The hopelessness of the two convicts is intensified by the sheer impartiality of the guards and the official group in the middle of the triptych. The three images are a study in the official culture’s response to the outcast; the artist sees the situation he presents as a tragedy unnecessarily intensified by the media. He writes, “The media are supposed to inform us, but I believe in fact they restrain our vision and close us within invisible fences.” Behind the skilled manipulation of images, which come from television, is the idealism of an artist involved with the injustice and cruelty of those more unfortunate than ourselves, for whatever reason; the triptych is meant to underscore the vulnerability of the convicts in the face of anonymous power. Tie’s humanitarian concerns speak to the poignant hope that the convicts be seen as individuals rather than be blankly condemned by those in power, or dismissed by those watching the scene. Additionally, taken as images provided by the media, his artworks underscore the culpability of the media process itself. Perhaps the goal of China’s television media has something to do with the expression of power as if that power were absolute; perhaps the media celebrate their own ability to put into high contrast those less fortunate than the spectators. The extra light directed at Tie’s often pitiful figures seems indifferent to those it illuminates with its attention. In Tie’s Triptych we are shown the emotionless face of power by a medium that enforces that power with its seemingly objective impartiality – an attitude taken up by the guards themselves. The implication of such imager y is clear; Tie asserts the problem as inherent in the Chinese system, which he questions as having too much influence on an often gullible or, instead, scandal-hungr y public. Mainly he is concerned with revealing the effect of the media on our own perception, its social shortsightedness a problem to be reckoned with. One of the most powerful images Tie is showing is State Power 10, a remarkable close-up of Chairman Mao’s hands. The fleshy hands of China’s leader, reproduced from a picture in a magazine, show up in a ghostly blue color, and the image is manipulated to the point where the fingers of the hand almost seem to be abstract brushstrokes against the dark background of Mao’s body. After the viewer adjusts to the picture, it is relatively easy to recognize the hands; Tie has done several versions of this subject, ranging in time from the end of the Long March in 1935 to his period of power, from 1949 to 1976. In symbolic fashion, Tie has come up with an image that is both an embodiment and a metaphor for the concentration of absolute power; however, Tie’s treatment is subtle, in the sense that it is ver y difficult to know what he is talking about without having an idea of the context, which emphasizes Mao’s hands as the implements of state power, such that the viewer is given both a symbolic treatment and a literalized emblem of the man who made such a difference to the Chinese people.
More than anything else, Tie’s art is a provocative discussion of the implied abuse of state power and the media’s willingness to go along with it. He finds the most vulnerable victim in the figure of the criminal, whose fate – often a bullet to the back of the head – defines a whole class of relations in which the media manipulates, to dramatic but also disturbing effect, the vicissitudes of people we are comfortable in distancing ourselves from. Tie writes in answer to a question I put to him: “Criminals, tied up and humiliated before the crowd, sometimes walking to their death, are also the victims of evil. Yes, they are criminals, but what do we gain by humiliating them?” It is not difficult to see in Tie’s project an attractive compassion for the victims of state power and the media, whose vulnerability he describes in images that are grievous in their implication. Obviously, the criminals are meant to ser ve as a lesson: this is what happens if you break the law. But, as it would seem, the harshness of the punishment nearly redeems the guilt of those receiving it. In this sense, Tie’s commitment to his subject matter is both formalist – in his careful manipulations of his art’s materials – and humanist – in his equally compelling suggestion that the criminals we see are human, just as the smiling boy selling flowers is human. Tie has also included a strong photograph of a statue, entitled Forevermore, presumably Mao, whose right arm lifts skyward and hides the figure’s face. Wearing a Mao jacket, the statue points out the ubiquity of Mao’s presence even decades after his death. It is an image of someone giving a larger than life salute, the sky above him a cloudless blue. Mao’s head is made invisible by the angle of the picture, which has been shot looking up to the statue from below. Tie looks to the symbolic representation, the sculpture of Mao obviously standing in for the dead leader himself, neither condemning nor praising: for Tie, Mao is a larger than life figure whose changes did not have only negative connotations. It is clear from this image that Tie’s view is complex, even realistic, in that he sees the headless statue more as a memorial than a judgment. Tie’s art is effective not only because of his technical skill but also because of his large-minded humanity, which extends itself both to China’s histor y and its turbulent, exciting contemporar y times.
BEHIND THE CURTAIN By JEFFREY CYPHERS WRIGHT www.offoffoff.com
Tie Ying, a young artist from Beijing, photographs the veils of power and beauty in State Power. Where media and the state converge, Tie (pronounced Tee) Ying stakes out his smokin’ turf. I say smokin’ because first — I like the works — and plus there is the acrid sense of something burning in his oeuvre, as if you are on a battlefield. Or as if you are a warrior or an isolated voyeur in the colossal programming of modern empire. To be sure, the residue of empire and its attendant contrivances and literal pillars is potent in these large prints. The images are exotic to us with the traditional mystique of the East but also with the taboo appeal — the appeal of radical chic and the regalia of a Communist state. To be sure, the residue of empire and its attendant contrivances and literal pillars is potent in these large prints. The images are exotic to us with the traditional mystique of the East but also with the taboo appeal — the appeal of radical chic and the regalia of a Communist state. n the middle, a “panel” of beaurocrats in blue uniforms looks passively to the left. These seemingly ordinar y folk are presumably the jur y that has decided the criminal’s fate. They appear to be seated on risers, calling into play the question of hierarchy in society. The left panel mirrors the right with a criminal being led away. In this scene, a woman bows her head as female officers escort her. The captors stare ahead like zombies at some indiscernible, but implied, witness. Thus, we all become complicit in viewing these works and therein lies part of their irony. State Power 07 is grimmer and grittier. In rough-grained black and white, a criminal is shown from behind with nooses around his neck. This image, seemingly too raw for television, was taken off the internet, but Tie told me that he felt no fear for showing such provocative work, such cogent indictments of a system’s cruelty. When Tie takes his simple camera outside, he catches vignettes that are striking both in narrative and in composition. In Tiananmen Square, we see a row of policemen. Echoing their shiny caps are the red flags flanking the imperial gates. Across the foreground, a bank of grass obscures the officers, leaving only their heads above the green swath. In National Day red and black kites climb across a concrete sky. To the left, in the distance, another chain of kites rises. Between them is a monumental column with a heraldic star etched onto it. The metaphors are rich: birds are painted on the kites; the kites are a perfect contrast to the “soaring” column; there is freedom and there is tradition. In Children Camp, Tie captures a group of Communist children in their uniforms with a guardian at a café. Some of them are alerted to a visitor coming in the door. Their postures of reaction echo the social realism that for so long dominated the art of China. In this photo, with its Norman Rockwell nostalgia, the people seem to be looking at the future walking in the door.
PROVOCATIVE IMAGE CATHER By Zuoxiao Zuzhou , Engligh translated by River Lu
“Where media and the state converge, Tie (pronounced Tee) Ying stakes out his smokin’ turf. I say smokin’ because first — I like the works — and plus there is the acrid sense of something burning in his oeuvre, as if you are on a battlefield. Or as if you are a warrior or an isolated voyeur in the colossal programming of modern empire.” This is part of a critique made by a New York critic (JEFFREY CYPHERS WRIGHT) about Tie’s personal work exhibition. To me, those words don’t make much sense. After his first personal work exhibition which was sponsored by the Marlborough Galler y in New York in late 2005, overnight Tie Ying had made a name for himself in New York City through some who-knows-what jargon from those critics. However, in his homeland, still only few know what he has been doing. Tie expressed himself in ver y explicit words in his book: “I want to demonstrate the predicament in life from a brand new angle, demonstrate the supreme power of free speech and free thinking, as well as the absurdity and contradiction between the two.” We could see from these words not only the true nature of a provocateur but also an advocate of inane artistic means. He uses some extremely simple means to create big picture prints and sells them at a price var ying from USD10,000 to USD 20,000. This public-bank-robbing-behavior is no doubt facilitating modern Chinese art to disturb the international art arena and making it a rather interesting phenomenon to obser ve. All the models in his portraits <<Tell Me Who You Are>> are related to him in one way or the other. It is no longer important that Tie can not only be a traditional photographer among many people, for in his world of image they are not going to find what they are looking for: superficially dazzling colors, plain eroticism, clear and apparent focus... anyway. A veracious definition of his works would be: he is using photos to create his own image propaganda, to succeed to inane concept and exaggerated image language, all of which are shaping into a sneering face. When facing his “own people”, he makes use of natural dim light and captures the unique glow of black pupils which enable his audience to get in touch with some kind of primitive gaze from animals that are being watched and admired. For example, <<Tell Me Who You Are>> ---- is some kind of a proposition as well as an elegant selection. This is all rather facetious, but at the same time appears to be a form of provocation against those covetous voyeurs who have nothing better to do. <<Forever>>, a piece of work finished in 2000, is an image of the statue of Chairman Mao’s waving right arm blocking its own face. This is the comment of an American art critic of this piece of art: “a salutation from an image that goes beyond life, the sky above is as clear as cr ystal.” However, the artist’s original idea was to commemorate the end of a great but unrealistic era and the termination of man’s dream about Utopianism. Among many of Tie Ying’s works, we see unimportant meaning hiding behind his imager y art. Ironically, in this modern art world, the unimportant meaning that was intended by the artist are really more important then the popular meanings that China’s art world now tries to find. There are many recreations of media images in Tie Ying’s photographs. His idea of photography is a continuous process of reproduction and plagiarization, followed by an even more beautiful way of expansion and promulgation, hiding behind it is a conspiracy between benefits and power. He thinks the art of traditional photography is facing a dead-end future with no way out because it has been replaced by pixels and digital technology. Moreover, 17-inch screen and TV screen are entirely dominating human’s visual experience. As a result, the professional photographer’s place is taken over by a digital camera; and ever yone is able to create his own image world with his own digital camera. So, let’s wait and see what comes next.
SINGLE & UNTITLED SERIES 2000 - 2005 01 MUSE
2005
C - Print: 49 x 130 cm (19.3 x 51.2 in)
Ink on Japaness Canvas: 81 x 217 cm (31.9 x 85.4 in)
02 COLD SPRING Diptych
2005
C - Print: 73 x 110 cm (28.7 x 43.3 in)
Ink on Japaness Canvas: 123 x 183 cm (48.4 x 72 in)
03 COLD SPRING Diptych
2005
C - Print: 73 x 110 cm (28.7 x 43.3 in)
Ink on Japaness Canvas: 123 x 183 cm (48.4 x 72 in)
04 FOREVER MORE 01
2000
C - Print: 83 x 121 cm (32.7 x 47.6 in)
Ink on Japaness Canvas: 138 x 201 cm (54.3 x 79.1 in)
05 MAO
2002
C - Print: 73 x 220 cm (28.7 x 86.6 in)
Ink on Japaness Canvas: 123 x 366 cm (48.4 x 144.1 in)
06 FOREVER MORE 02
2000
C - Print: 83 x 121 cm (32.7 x 47.6 in)
Ink on Japaness Canvas: 138 x 201 cm (54.3 x 79.1 in)
07 NATIONAL DAY 01
2001
C - Print: 83 x 121 cm (32.7 x 47.6 in)
Ink on Japaness Canvas: 138 x 201 cm (54.3 x 79.1 in)
08 NATIONAL DAY 02
2001
C - Print: 73 x 110 cm (28.7 x 43.3 in)
Ink on Japaness Canvas: 123 x 183 cm (48.4 x 72 in)
09 NATIONAL DAY 03
2001
C - Print: 73 x 110 cm (28.7 x 43.3 in)
Ink on Japaness Canvas: 123 x 183 cm (48.4 x 72 in)
10 NATIONAL DAY 04
2001
C - Print: 73 x 110 cm (28.7 x 43.3 in)
Ink on Japaness Canvas: 123 x 183 cm (48.4 x 72 in)
11 PARK 01
2000
C - Print: 83 x 121 cm (32.7 x 47.6 in)
Ink on Japaness Canvas: 138 x 201 cm (54.3 x 79.1 in)
12 PARK 02
2000
C - Print: 83 x 121 cm (32.7 x 47.6 in)
Ink on Japaness Canvas: 138 x 201 cm (54.3 x 79.1 in)
13 PARK 03
2000
C - Print: 83 x 121 cm (32.7 x 47.6 in)
Ink on Japaness Canvas: 138 x 201 cm (54.3 x 79.1 in)
14 1976
2005
C - Print: 60 x 80 cm (23.6 x 31.5 in)
Ink on Japaness Canvas: 100 x 133 cm (39.4 x 52.4 in)
15 TIAN ‘ ANMEN
2002
C - Print: 76 x 100 cm (29.9 x 39.4 in)
Ink on Japaness Canvas: 106 x 138 cm (41.7 x 54.3 in)
16 CHILDREN CAMP
2002
C - Print: 129 x 150 cm (50.8 x 59.1 in)
Ink on Japaness Canvas: 142 x 166 cm (55.9 x 65.4 in)
17 SHOW TIME
2001
C - Print: 83 x 121 cm (32.7 x 47.6 in)
Ink on Japaness Canvas: 138 x 201 cm (54.3 x 79.1 in)
C - Print - edition of 6 Ink on Japaness Canvas - edition of 3 © TIE Y ING
TIAN’ANMEN SQUARE 2002
2002 - 2005
STATE POWER SERIES 2002 - 2005 01 STATE POWER 01
2002
C - Print: 112 x 150 cm (44.1 x 59.1 in)
Ink on Japaness Canvas: 144 x 194 cm (56.7 x 76.4 in)
02 STATE POWER 02
2002
C - Print: 112 x 92 cm (44.1 x 59.1 in)
Ink on Japaness Canvas: 136 x 167 cm (53.5 x 65.7 in)
03 STATE POWER 03
2002
C - Print:
Ink on Japaness Canvas: 144 x 194 cm (56.7 x 76.4 in)
04 STATE POWER Triptych
2002
C - Print: 112 x392 cm (44.1 x 154.3 in)
Ink on Japaness Canvas: 144 x 555 cm (56.7 x 218.5 in)
05 STATE POWER 04
2003
C - Print: 108 x 108 cm (42.5 x 42.5 in)
Ink on Japaness Canvas: 145 x 145 cm (57.1 x 57.1in)
06 STATE POWER 05
2003
C - Print: 108 x 108 cm (42.5 x 42.5 in)
Ink on Japaness Canvas: 145 x 145 cm (57.1 x 57.1in)
07 STATE POWER 06
2003
C - Print: 108 x 108 cm (42.5 x 42.5 in)
Ink on Japaness Canvas: 145 x 145 cm (57.1 x 57.1in)
08 STATE POWER 07
2003
C - Print: 57 x 108 cm (22.4 x 42.5 in)
Ink on Japaness Canvas: 94 x 180 cm (37 x 70.9 in)
09 STATE POWER 08
2003
C - Print: 93 x 138 cm (36.6 x 54.3 in)
Ink on Japaness Canvas: 146 x 216 cm (57.5 x 85 in)
10 STATE POWER 09
2005
C - Print: 40 x 120 cm (15.7 x 47.2 in)
Ink on Japaness Canvas: 67 x 200 cm (26.4 x 78.7 in)
11 STATE POWER 10
2005
C - Print: 94 x 100 cm (37x 39.4 in)
Ink on Japaness Canvas: 143 x 152 cm (56.3x 78.7 in)
12 STATE POWER 11
2005
C - Print: 55 x 90 cm (21.7 x 35.4 in)
Ink on Japaness Canvas: 92 x 150 cm (36.2 x 59.1 in)
C - Print - edition of 6 Ink on Japaness Canvas - edition of 3 Š TIE Y ING
112 x 150 cm (44.1 x 59.1 in)
POWERFUL HANDS SERIES 2003 01 POWERFUL HANDS 01
2003
C - Print: 102 x 102 cm (40.2 x 40.2 in)
Ink on Japaness Canvas: 142 x 142 cm (55.9 x 55.9 in)
02 POWERFUL HANDS 02
2003
C - Print: 102 x 102 cm (40.2 x 40.2 in)
Ink on Japaness Canvas: 142 x 142 cm (55.9 x 55.9 in)
03 POWERFUL HANDS 03
2003
C - Print: 102 x 102 cm (40.2 x 40.2 in)
Ink on Japaness Canvas: 142 x 142 cm (55.9 x 55.9 in)
04 POWERFUL HANDS 04
2003
C - Print: 102 x 102 cm (40.2 x 40.2 in)
Ink on Japaness Canvas: 142 x 142 cm (55.9 x 55.9 in)
05 POWERFUL HANDS 05
2003
C - Print: 60 x 102 cm (23.6 x 40.2 in)
Ink on Japaness Canvas: 97 x 167 cm (38.2 x 65.7 in)
C - Print - edition of 6 Ink on Japaness Canvas - edition of 3 Š TIE Y ING
WAR SOUVENIR SERIES 2003 - 2005 01 WAR SOUVENIR 01
2003
C - Print: 83 x 240 cm (32.7 x 94.5 in)
Ink on Japaness Canvas: 139 x 400 cm (54.7 x 157.5 in)
02 WAR SOUVENIR 02
2003
C - Print: 76 x 100 cm (29.9 x 39.4 in)
Ink on Japaness Canvas: 139 x 400 cm (54.7 x 157.5 in)
03 WAR SOUVENIR 03
2003
C - Print: 76 x 100 cm (29.9 x 39.4 in)
Ink on Japaness Canvas: 139 x 400 cm (54.7 x 157.5 in)
04 WAR SOUVENIR 04
2003
C - Print: 76 x 100 cm (29.9 x 39.4 in)
Ink on Japaness Canvas: 139 x 400 cm (54.7 x 157.5 in)
05 WAR SOUVENIR 05
2003
C - Print: 76 x 200 cm (2 9.9 x 78.7 in)
Ink on Japaness Canvas: 127 x 334 cm (50 x 131.5 in)
06 WAR SOUVENIR 06
2003
C - Print: 76 x 200 cm (2 9.9 x 78.7 in)
Ink on Japaness Canvas: 127 x 334 cm (50 x 131.5 in)
07 WAR SOUVENIR 07
2005
C - Print: 8 x 143 cm (3.1 x 56.3 in)
Ink on Japaness Canvas: 14 x 237 cm (5.5 x 93.3 in)
08 WAR SOUVENIR 08
2003
C - Print: 48 x 111 cm (18.9 x 43.7 in)
Ink on Japaness Canvas: 80 x 185 cm (31.5 x 72.8 in)
09 WAR SOUVENIR 09
2003
C - Print: 86 x 86 cm (33.9 x 33.9 in)
Ink on Japaness Canvas: 144 x 144 cm (56.7 x 56.7 in)
C - Print - edition of 6 Ink on Japaness Canvas - edition of 3 Š TIE Y ING
XXX GIRLS SERIES 2003 - 2004 01 XXX GIRLS 01
2003
C - Print: 87 x 150 cm (34.3 x 59.1in)
Ink on Japaness Canvas: 145 x 245 cm (57.1 x 96.5in)
02 XXX GIRLS 02
2003
C - Print: 60 x 94 cm (23.6 x 37 in)
Ink on Japaness Canvas: 100 x 156 cm (39.4 x 61.4in)
03 XXX GIRLS 03
2003
C - Print: 100 x 100 cm (39.4 x 39.4 in)
Ink on Japaness Canvas: 144 x 144 cm (56.7 x 56.7 in)
04 XXX GIRLS 04
2003
C - Print: 100 x 100 cm (39.4 x 39.4 in)
Ink on Japaness Canvas: 144 x 144 cm (56.7 x 56.7 in)
05 XXX GIRLS 05
2003
C - Print: 100 x 100 cm (39.4 x 39.4 in)
Ink on Japaness Canvas: 144 x 144 cm (56.7 x 56.7 in)
06 XXX GIRLS 06
2003
C - Print: 100 x 100 cm (39.4 x 39.4 in)
Ink on Japaness Canvas: 144 x 144 cm (56.7 x 56.7 in)
07 XXX GIRLS 07
2003
C - Print: 100 x 100 cm (39.4 x 39.4 in)
Ink on Japaness Canvas: 144 x 144 cm (56.7 x 56.7 in)
08 XXX GIRLS 08
2004
C - Print: 47 x 63 cm (18.5 x 24.8 in)
Ink on Japaness Canvas: 78 x 105 cm (30.7 x 41.3 in)
09 XXX GIRLS 09
2004
C - Print: 28 x 75 cm (11 x 29.5 in)
Ink on Japaness Canvas: 48 x 125 cm (18.9 x 49.2 in)
10 XXX GIRLS 10
2004
C - Print: 51x 63 cm (20.1 x 24.8 in)
Ink on Japaness Canvas: 85 x 105 cm (33.5 x 41.3 in)
11 XXX GIRLS 11
2004
C - Print: 100 x 100 cm (39.4 x 39.4 in)
Ink on Japaness Canvas: 144 x 144 cm (56.7 x 56.7 in)
12 XXX GIRLS 12
2003
C - Print: 120 x 152 cm (47.2 x 59.8 in)
Ink on Japaness Canvas: 145 x 183 cm (57.1 x 72 in)
C - Print - edition of 6 Ink on Japaness Canvas - edition of 3 Š TIE Y ING
GOD’S GARBAGE SERIES 2003 01 GOD’S GARBAGE 01
2003
C - Print: 40 x 40 cm (15.7 x 15.7in)
02 GOD’S GARBAGE 02
2003
C - Print: 40 x 40 cm (15.7 x 15.7in)
03 GOD’S GARBAGE 03
2003
C - Print: 40 x 40 cm (15.7 x 15.7in)
04 GOD’S GARBAGE 04
2003
C - Print: 40 x 40 cm (15.7 x 15.7in)
05 GOD’S GARBAGE 05
2003
C - Print: 40 x 40 cm (15.7 x 15.7in)
06 GOD’S GARBAGE 06
2003
C - Print: 40 x 40 cm (15.7 x 15.7in)
07 GOD’S GARBAGE 07
2003
C - Print: 40 x 40 cm (15.7 x 15.7in)
C - Print - edition of 6 © TIE Y ING
WORKERS SERIES 2004 - 2005 01 798 WORKER
2005
C - Print: 38 x 123 cm (15 x 48.4 in)
Ink on Japaness Canvas: 63 x 205 cm (24.8 x 80.7 in)
02 STREET WORKER
2004
C - Print: 37 x 118 cm (14.6 x 46.5 in)
Ink on Japaness Canvas: 62 x 196 cm (24.4 x 77.2 in)
03 FLOWER KIDS 01
2004
C - Print: 43 x 85 cm (16.9 x 33.5 in)
Ink on Japaness Canvas: 72 x 142 cm (28.3 x 55.9 in)
04 FLOWER KIDS 02
2004
C - Print: 37 x 149 cm (14.6 x 58.7 in)
Ink on Japaness Canvas: 67 x 252 cm (26.4 x 99.2 in)
05 TWINS
2004
C - Print: 36 x133 cm (14.2 x 52.4 in)
Ink on Japaness Canvas: 60 x 221 cm (23.6 x 87 in)
06 CLEANER 01
2005
C - Print: 63 x 196 cm (24.8 x 77.2 in)
Ink on Japaness Canvas: 104 x 327 cm (40.9 x 128.7 in)
07 CLEANER 02
2005
C - Print: 75 x 100 cm (29.5 x 39.4 in)
Ink on Japaness Canvas: 125 x 167 cm (49.2 x 65.7 in)
08 GUANGZHOU
2004
C - Print: 73 x 110 cm (28.7 x 43.3 in)
Ink on Japaness Canvas: 123 x 183 cm (48.4 x 72 in)
C - Print - edition of 6 Ink on Japaness Canvas - edition of 3 Š TIE Y ING
WORKERS SERIES 2003 - 2005 01 UNTITLED
2006
C - Print: 60 x 110 cm (23.6 x 43.3 in)
Ink on Japaness Canvas: 93 x 183 cm (36.6 x 72 in)
02 AMERICAN FACES 01
2005
C - Print: 120 x 150 cm (47.2 x 59.1 in)
Ink on Japaness Canvas: 145 x 180 cm (57.1 x 70.9 in)
03 MR. MR.
2003
C - Print: 47 x 72 cm (18.5 x 28.3 in)
Ink on Japaness Canvas: 78 x 120 cm (30.7 x 47.2 in)
04 KIM JONG II
2006
C - Print: 30 x 116 cm (11.8 x 45.7 in)
Ink on Japaness Canvas: 50 x 193 cm (19.7 x 76 in)
05 NORTH KOREA 01
2005
C - Print: 62 x 100 cm (24.4 x 39.4 in)
Ink on Japaness Canvas: 103 x 167 cm (40.6 x 65.7 in)
06 TAIWAN 02
2006
C - Print: 80 x 150 cm (31.5 x 59.1 in)
Ink on Japaness Canvas: 134 x 250 cm (52.8 x 98.4 in)
07 NORTH KOREA 02
2005
C - Print: 59 x 150 cm (23.2 x 59.1 in)
Ink on Japaness Canvas: 98 x 250 cm (38.6 x 98.4 in)
08 TALIBAN
2005
C - Print: 48 x 150 cm (18.9 x 59.1 in)
Ink on Japaness Canvas: 80 x 250 cm (31.5 x 98.4 in)
09 G8
2005
C - Print: 87 x 200 cm (34.3 x 78.7 in)
Ink on Japaness Canvas: 145 x 334 cm (57.1 x 131.5 in)
10 JULY 7, LONDON
2005
C - Print: 65 x 108 cm (25.6 x 42.5 in)
Ink on Japaness Canvas: 108 x 179 cm (42.5 x 70.5 in)
11 CHINESE ROUNDTABLE
2006
C - Print: 27 x 100 cm (10.6 x 39.4 in
Ink on Japaness Canvas: 45 x 167 cm (17.7 x 65.7 in)
12 NORTH KOREA 03
2005
C - Print: 40 x 83 cm (15.7 x 32.7 in)
Ink on Japaness Canvas: 66 x 138 cm (26 x 54.3 in)
13 PEOPLE’S LIBERATION ARMY
2006
C - Print: 34 x 92 cm (13.4 x 36.2 in)
Ink on Japaness Canvas: 56 x 154 cm (22 x 36.2 in)
14 SPACESHIP OF WONDER VI 01
2005
C - Print: 83 x 188 cm (32.7 x 74 in)
Ink on Japaness Canvas: 138 x 313 cm (54.3 x 123.2 in)
15 SPACESHIP OF WONDER VI 02
2005
C - Print: 83 x 188 cm (32.7 x 74 in)
Ink on Japaness Canvas: 138 x 313 cm (54.3 x 123.2 in)
16 PARIS CHAOS 01
2006
C - Print: 52 x 158 cm (20.5 x 62.2 in)
Ink on Japaness Canvas: 86 x 263 cm (33.9 x 103.5 in)
17 PARIS CHAOS 02
2006
C - Print: 34 x 95 cm (13.4 x 37.4 in)
Ink on Japaness Canvas: 56 x 159 cm (22 x 62.6 in)
18 PARIS CHAOS 03
2006
C - Print: 30 x 80 cm (11.8 x 31.5 in)
Ink on Japaness Canvas: 50 x 133 cm (19.7 x 52.4 in)
19 PARIS CHAOS 04
2006
C - Print: 47 x 80 cm (18.5 x 31.5 in)
Ink on Japaness Canvas: 78 x 133 cm (30.7 x 52.4 in)
20 EIGHT CHINESE
2005
C - Print: 86 x 120 cm (33.6 x 47.2 in)
Ink on Japaness Canvas: 143 x 200 cm (56.3 x 78.7 in)
21 GRASSROOTS HOMICIDE 01
2003
C - Print: 37 x 167 cm (14.6 x 65.7 in)
Ink on Japaness Canvas: 67 x 278 cm (26.4 x 109.4 in)
22 GRASSROOTS HOMICIDE 02
2003
C - Print: 57 x 98 cm (22.4 x 38.6 in)
Ink on Japaness Canvas: 96 x 164 cm (37.8 x 64.6 in)
23 GRASSROOTS HOMICIDE 03
2005
C - Print: 60 x 80 cm (23.6 x 31.5 in)
Ink on Japaness Canvas: 100 x 133 cm (39.4 x 52.4 in)
24 MOSCOW THEATRE
2003
C - Print: 90 x 90 cm (35.4 x 35.4 in)
Ink on Japaness Canvas: 144 x 144 cm (56.7 x 56.7 in)
C - Print - edition of 6 Ink on Japaness Canvas - edition of 3 © TIE Y ING
STREET NEWS SERIES 2005 01 STREET NEWS 01
2005
C - Print: 138 x 153 cm (54.3 x 60.2 in)
Ink on Japaness Canvas: 145 x 161 cm (57.1x 63.4 in)
02 STREET NEWS 02
2005
C - Print: 116 x 153 cm (45.7 x 60.2 in)
Ink on Japaness Canvas: 145 x 191 cm (57.1x 75.2 in)
03 STREET NEWS 03
2005
C - Print: 88 x 180 cm (34.6 x 70.9 in)
Ink on Japaness Canvas: 145 x 295 cm (57.1x 116.1 in)
04 STREET NEWS 04
2005
C - Print: 107 x 165 cm (42.1 x 65 in)
Ink on Japaness Canvas: 145 x 224 cm (57.1x 88.2 in)
C - Print - edition of 6 Ink on Japaness Canvas - edition of 3 Š TIE Y ING