Nearly two years in preparation. May 19, 2011 to July 30, 2011 at Chinese Culture Center and Silicon Valley Asian Art CenterChronicle Review
make you think about the continuing march of abstract painting, and the rising power of bicultural artists like Zheng who combine and transcend disparate traditions. Tamara Straus, San Francisco Chronicle
He has invented a style that has been hailed as unprecedented. Paul Liberatore, Marin Independent Journal
The flowing forms
invite the viewers imagination to wander into and through them. Mark Van Proyen, Art in America
He manages to create a supernatural atmosphere on the paper as if it is framed by nature or spirit. Abby Chen
San Francisco-based Zheng Chongbin
turns the Chinese ink aesthetic on its head with bold, visceral abstract paintings. Christopher DeWolf, CNN
His paintings push the possibilities of ink as a medium while at the same time challenging the boundaries of abstract painting. Dr. Shen Kuiyi, Yishu Journal, July/August 2011
Zhengs works mingle the past and present, granting glimpses of realities studied, seen and envisioned that burn brilliantly with poetry, poignancy, and power.
Collette Chattopadhyay, Yishu Journal, July/August 2011
Art Practicals Zachary Royer Scholz calls CCCs Xian Rui 2011 exhibition White Ink the Best Exhibition you Likely Never Saw in Art Practicals Best of 2011 column. Says Royer:
the Chinese Cultural Center (CCC) may be a bit off the radar for many art viewers, but Zheng Chongbins exhibition White Ink was more than worth a visit. Drawing equally from Western abstraction and calligraphic tradition, Zhengs visceral ink paintings paradoxically were both fresh and ancient. Though made on traditional Xuan calligraphic paper, the works possess a blunt structural power similar to the work of Franz Kline, an emotional weight reminiscent of Anselm Kiefer, and a gestural embodiment that calls to mind the performative drawings of San Franciscos own Tom Marioni.