Asia Art Center
West Bund Art & Design Fair
Booth:1C10
Media Preview
2026.11.10（Tus.）10:00 - 14:00
VIP Preview
2026.11.10（Tus.）14:00 - 18:30
2026.11.11（Wed.）12:00 - 18:00
Public Hours
2026.11.12（Thu.）12:00 - 18:00
2026.11.13（Fri.） 12:00 - 18:00
2026.11.14（Sat.） 12:00 - 18:00
2026.11.15（Sun.）12:00 - 18:00
Asia Art Center presents works by ten artists at West Bund Art & Design Fair from November 10 to 15, 2026. Ranging from water traces on paper to the interplay of solid and void in sculpture, from Jiangnan landscapes to faint glimmers on canvas, the artworks convey diverse medium-based meditations on nature, time and perception.
Chen Qi captures ripples and fleeting light in waterprint woodcut, rendering time visible upon paper. Chen Shuxia layers pale hues, allowing elusive forms to emerge slowly across the canvas. Hang Chunhui disturbs imagery through relief structures and light, shifting the viewer's gaze between flat surface and volume. In his Tai Chi series, Ju Ming freezes bodily movement in sculpture, embodying the interdependence of yin and yang through tension and release. Li Chen infuses his solid dark ink sculptures with lightness, embedding wry observations of the world within humour. Shen Qin reimagines landscape with restrained ink and delicate brushwork, sustaining ancient poetic spirit across gardens and mountains. Wang Jieyin weaves print incisions and calligraphic brushstrokes into landscape, preserving literati lyricism within abstract composition. Wang Shaoqiang explores natural order through ink and paper, extending traditional views of nature into contemporary imagery. Wu Didi draws on bamboo forms to investigate how an object reveals itself under sustained observation. Zheng Zai-dong channels the brush idiom of the Song and Yuan dynasties in oil and acrylic, crafting serene Jiangnan scenes as spaces for contemplation and repose.Rooted in traditional Chinese culture and Eastern aesthetics, these ten artists explore nature, life, time, materiality and philosophy through distinct mediums and approaches. Breaking free from conventional formulas, they infuse Eastern spirit into contemporary artistic language. Through marking, carving, ink-wash and shaping, they reveal the enduring vitality of classical aesthetics today, bringing to West Bund an Eastern artistic feast woven with literati charm and contemporary reflection.
CHEN Qi (b.1963)
Chen Qi is one of the most pioneering and influential artists working in contemporary Chinese water-based woodblock printmaking. Deeply grounded in traditional Chinese culture and Eastern aesthetics, he builds a distinctive visual vocabulary through remarkable creativity and masterful print technique. His practice has evolved from figurative imagery toward abstraction, expanding from water-based woodblock to ink on paper, installation and digital media. Centered on water, time, life and natural order, he translates flowing ripples, bleeding ink and interweaving light and shadow into perceptions of temporal passage and life's transformations. His works embody subtle Eastern philosophical meaning, poised between precise formal order and spontaneous natural change.
CHEN Shuxia (b.1963)
Chen Shuxia's paintings unfold in quietude. Colours drift like breath, forms hovering on the verge of appearance and disappearance. Using minimal, layered handling, she blurs the boundary between colour and texture. Natural elements - light, dust, water and air - slowly settle on the canvas, coalescing into a restrained yet continuously unfolding space. Her paintings guide the rhythm of viewing through material vibration and circulating aura, inviting viewers to recalibrate their perception through subtle tactile awareness. This language of "pale restraint" rejects narrative and symbolism. Instead, its internal rhythm and atmospheric quality lead vision toward the unmanifest.
HANG Chunhui (b.1976)
For Hang Chunhui, the stabilization of form is never an end point, but an ongoing generative process of deferral, folding and disturbance. He shifts canvas, frame and paper between surface and volume, painting and installation. Using light, relief structure and material physicality to create visual ambiguity, he strips away inherent narrative meaning from imagery. He builds a viewing mechanism that resists signification and delays perception, prompting viewers to reconsider the relationships among painting, object and visual cognition.
JU Ming (1938-2023)
JU Ming's practice revolves around core tenets of Eastern philosophy, including the Unity of Man and Nature and Dao follows Nature. Combining abstraction and figuration, he conveys a profound understanding of life's essence and reverence for cosmic order. His iconic Tai Chi series ingeniously embodies the notion of the interdependence of yin and yang. Through the contrast and harmony of sculptural forms, the works manifest the philosophical idea that all things in the universe are mutually dependent and in constant transformation.
LI Chen (b.1963)
Li Chen's early engagement with Buddhism and Daoism informed his artistic outlook. He infuses unconstrained creation with intimate meditative sentiment, drawing on the aura of Eastern tradition and Western sculptural aesthetics, alongside contemporary thinking. Free from the constraints of a single lineage, his dark, seemingly weighty yet ethereal sculptures possess an organic quality. For Li Chen, art serves as a form of personal spiritual healing. He seeks an idyllic haven amid the mundane world, building spiritual spaces within his works and using gentle wit to offer allegories of human existence.
SHEN Qin (b.1958)
Shen Qin is a leading figure in contemporary Chinese ink art. He has consistently explored the expressive potential of traditional ink painting within a contemporary context. Rooted in Chinese literati ethos and Jiangnan culture, his work absorbs formal ideas and aesthetic sensibilities of modernism. Across his Field, Garden, Village, Mountain and Rock series, he continuously breaks inherited brushwork formulas. By re-examining and reconfiguring texture strokes, ink tonality, lines and spatial structure, he has developed a highly distilled, delicate and spiritually charged visual language. While carrying the archaic resonance of classical Chinese landscape painting, his distinct contemporary vision expands the boundaries of ink art and reveals the enduring vitality of Eastern aesthetics today.
WANG Jieyin (b.1941)
Wang Jieyin is a pivotal, generative artist within Shanghai's contemporary art scene. His practice spans printmaking, oil painting, ink and mixed media. He has long researched and practised the contemporary transformation of traditional Chinese painting. Taking landscape and nature as his core motif, his works integrate the incised texture of printmaking, calligraphic brushwork and experimental contemporary language. They move fluidly between literati sensibility and abstract structure, marked by quiet restraint, poetic resonance and introspection. His body of work constitutes an important scholarly reference for the development of indigenous abstraction and new painting.
WANG Shaoqiang (b.1969)
Wang Shaoqiang devotes himself to the study of Eastern philosophy and views of nature, focusing on the contemporary translation of Chinese cultural heritage while pursuing breakthroughs in concept and methodology. Drawing on his understanding of East-West art histories and the current artistic ecology, he integrates contemporary thinking and perspectives into the reconstruction of traditional cultural contexts. His profound familiarity with Chinese ink and paper media allows him to embed personal sentiment into his practice, forging a unique visual logic, contemporary vision and artistic dimension.
WU Didi (b.1976)
Bamboo is the central motif in Wu Didi's practice. Within Chinese culture, bamboo is far more than a plant; it carries layered cultural connotations and spiritual significance. Wu Didi explores the relationship between materiality and perception through bamboo forms. The bamboo in her works is not a mere imitation of reality, but a visual construct shaped through perception and reflection. She prioritizes the being of the material itself rather than constructing a world of symbolic metaphor. The process resembles photography: capturing and presenting the thing in its immediate, embodied state.
ZHENG Zai-dong (b.1953)
Nurtured by Eastern and Western cultures and shaped by his transregional experience, Zheng Zai-dong devotes himself to reviving classical Chinese humanistic spirit. Working with Western media such as oil and acrylic, he renders the brush ethos of the Song and Yuan dynasties and the refined grace of Jiangnan. He navigates fluidly between layered tensions: contemporaneity and history, fiction and reality. His palette is nuanced and rich, bearing a quiet, spare solitude tempered by understated wit. He constructs contemplative, idyllic realms within his paintings, offering viewers a spiritual haven for wandering and repose amid the chaos of the present world.
