Berlin 00:00:00 London 00:00:00 New York 00:00:00 Chicago 00:00:00 Los Angeles 00:00:00 Shanghai 00:00:00
members login here
Country / State

Chambers Fine Art Beijing presents Cui Fei: Tracing the Origin II / Ho Sintung: Dusty Landscape

Archive | Information & News

17 Sept 2016 to 20 Nov 2016

Red No.1-D, Caochangdi
Chaoyang District
T: + 86 (10) 5127 3298

Cui Fei, Read by Touch II – 2002, 2015
thorns on paper, 10 3/4 x 9 1/4 in

Artists in this exhibition: Cui Fei, Ho Sintung

Cui Fei: Tracing the Origin II
Exhibition Date: September 17 – November 20, 2016
Opening Reception: Saturday, September 17, 2016, 3–6 pm

Red No.1-D, Caochangdi, Chaoyang District, Beijing

Chambers Fine Art is pleased to announce the opening on September 17 of Cui Fei: Tracing the Origin II. Cui Fei was born in 1970 in Jinan, Shandong Province. After graduating from the China Academy of Fine Arts, Hangzhou, she moved to the United States in 1996 and has been resident there ever since.

Although painting was the primary focus in the first decade of her career, Cui Fei began to create works using materials from the natural world in the mid-1990s and this was soon to become the distinguishing feature of her artistic practice. She has described how the experience of being a Chinese artist in the United States and witnessing radical changes in China led to a heightened awareness of the relationship between man and nature that has been lost. “I see nature,” she has said, “as consistent and ordered, thus providing a therapeutic agent for healing and harmony in an otherwise chaotic world. I utilize materials found in nature such as tendrils, leaves and thorns composing a manuscript symbolizing the voiceless messages in nature that are waiting to be discovered and to be heard.”

Her work may thus be seen as an ongoing process of gathering materials from the natural world which she seeks out in different locations and seasons depending on the nature of the plants and of ordering and presenting them in a coherent manner in the privacy of her studio or in the public space of a gallery or museum. Each of the ongoing series of works that have preoccupied her for the last 15 years –Tracing the Origin series, Manuscript of Nature series, Read by Touch, Diary and others – has a different focus although the basic procedure remains the same.

In the current exhibition works from Read by Touch and Manuscript of Nature are notably different in impact. In the former thorns from black locust or honey locust trees and rose bushes are presented in horizontal lines representing units of time, the invitation to read by touch emphasizing the possibility of a painful encounter with the wickedly sharp thorns. There is a tension between the irregular forms of the thorns, each one unique, and the rigid way in which they are arranged.

In the latter, dried grape tendrils are aligned vertically, resembling Chinese calligraphy strokes written in grass style. Cui Fei has made many variations on this theme, presenting the material as framed works but also as installations in Manuscript of Nature V. In the latter the tendrils are pinned directly to the wall, the size of the work depending on the proportions of the space in which they are exhibited.

Another key work is Not Yet Titled in which individual units consisting of five thorns, four vertical and one horizontal tied together with twine, are attached directly to the wall of the exhibition space. As described in a recent analysis of Cui Fei’s work, “Each thorn represents one day, and the rows represent months. Each column is a year, or part of a year. Not Yet Titled counts out the duration of the second Sino-Japanese War, which lasted from 1937 to 1945. Every thorn represents another day of suffering. Looking at the tallies spread across the wall, one begins to take in how long that suffering lasted.”

In Cui Fei’s work there is always a tension between the found materials from the natural world that she uses as her medium and the methodical way in which this is presented whether in installations or independent works. Although she uses materials from the natural world rather than more traditional media, she explores themes that range from the personal and private to the universal.


Ho Sintung: Dusty Landscape
Exhibition Date: September 17 – November 20, 2016
Opening Reception: Saturday, September 17, 2016, 3–6 pm

Red No.1-D, Caochangdi, Chaoyang District, Beijing

Chambers Fine Art is pleased to announce the opening on September 17 of Dusty Landscape by Ho Sintung. Born in Hong Kong in 1986, Ho Sintung graduated from the Department of Fine Arts of the Chinese University of Hong Kong in 2008 and currently lives and works in Hong Kong. This will be her first exhibition at Chambers Fine Art.

In less than a decade Ho Sintung has emerged as one of the most distinctive artists of her generation. Preferring to work on a small scale and favoring pencil and graphite on paper above other media, she gives visual expression to her passion for all aspects of the cinema, not only films themselves but the buildings in which they are shown, posters and other ephemera. Although she has said that her favorite pastimes are “reading books and watching films,” her work also reveals her familiarity with a wide range of twentieth century visual art to which she refers in her tongue-in-cheek hommages to the “movies.”

For Dusty Landscape Ho Sintung turns her attention to horror movies. In a recent interview, she remarked how her father used to love watching violent and scary movies although she did not share his taste at the time. She recognizes, however, that “the horror film has a significance in the history of film that should not be neglected – it tirelessly brings up the past, retelling stories that have been rejected over and over again. It makes sure that prayers that were unheard will be heard; justice that was absent will resurface once more. Horror films respond to reality in the same way that our bodies react to horror films. These drawings, although milder and more tactful in tone, disrupt the familiarity of the densely-knit fabric of day-to-day life, exposing its inner abnormality.”

Her fastidiously executed posters for imaginary horror films with their off-beat humor and eccentric typography captivate with their mordant wit. Who would not want to sneak into a darkened theater to see The Weaker Man A Zombie Apocalypse of the Homeless in which zombie police only attack the homeless or Frankensticker, a tantalizing variation on perhaps the most famous horror story of all time? Equally enticing is When the Triangle Descends the Stairs, a rare abstract incursion into the realm of the horrific, appearing in an inset at the bottom of the sheet in an image that recalls the shower scene in Alfred Hitchcock’s Psycho.

In a number of cases film stills give a foretaste of the horrors awaiting viewers of the movies. In Outlive the Light, for example, we see a 5 day weather forecast in which the temperature rises from 37 to 124 degrees and in All of them Switches the film stills reveal the visions of the delusional heroine telephoning for help in the poster.

In the small gallery Ho Sintung pays homage to one of the twentieth century’s most notorious cinematic masterpieces, Pier Paolo Pasolini’s Salo, or the 120 Days of Sodom which was inspired by the magnum opus of the Marquis de Sade. Obsessed by the design of the carpet with a geometric design reflecting the aesthetics of the fascists that became the stage for torture scenes, Ho Sintung replicates it and uses its pattern for a series of drawings. Portraits of the actors and actresses line the walls, establishing a dialog with the viewer.

The particular charm of Ho Sintung’s posters for non-existent films and installations derives from her ability to compress a wide range of cinematic, art historical and literary references into carefully orchestrated compositions. Executed with the greatest finesse in colored pencil on tea-stained paper they exude what the artist refers to as “an antiquated quality.” Unique among cinéastes, she gives visual expression to her passion for all aspects of the cinema rather than formal and critical analysis.

如需更多信息,请致电画廊 + 86(10)5127 3298 或发邮件至
For more information, please contact the gallery at 212-414-1169 or

Follow on Twitter

Click on the map to search the directory

USA and Canada Central America South America Western Europe Eastern Europe Asia Australasia Middle East Africa