Chinese, b.1960 Chengde, lives and works in Beijing.
Having said farewell to realism and adopting abstraction as a main form, and, having studied Western art history and techniques while simultaneously following a retrospective path to tradition, there have been two consistent points of origin to Tan Ping’s artistic ideas. Two points of origin that are in constant dialogue or flux.
Tan Ping’s work develops from the standpoint of modern and contemporary western art yet reflects on, or reconceptualizes the cultural traditions of China. Recognizing and accepting the cultural logics and art history of contemporary Chinese art as distanced and separate from Western parallels allows Tan to develop an individualized form of expression. Choosing a pared-down, minimal aesthetic, Tan’s work has developed into a unique and individual style that focuses on simplicity, purity and an extraordinary technical accomplishment. For Tan, drawing is central to his practice and has become a necessity of his life. “From ‘drawing it’, ‘drawing me’ to ‘I draw’… drawing is a constant status of me.” In his opinion, drawing is not a reflection of his identity it is pure instinct. Tan’s work is collected by major galleries and museums in China and abroad, including the National Art Museum of China, Shanghai Art Museum, Today Art Museum, Shanghai; Portland Art Museum and the Arizona State University Art Museum, USA; Museum Ludwig, Cologne, Germany and the Trapholt Museum for Moderne Kunst, Denmark.
Tan Ping, is currently Vice President of the Chinese National Academy of Arts, Beijing.