Asia Art Center is honored to announce the exhibition "Accretions: The Art of Wang Jieyin" on November 22, 2025. This exhibition marks the artist's second solo show at Asia Art Center (Beijing), following "Boundless Sky: Recent Ink Paintings of Wang Jieyin" in 2020 after a five-year interval. The exhibition is academically moderated by Pi Daojian and curated by Fang Zhiling. It features over thirty recent works by the artist Wang Jieyin.
Artist Wang Jieyin has titled his new exhibition Accretions (Ji Chu). Chu is an elegant archaic term for paper, and Ji points not only to the layered state of pasted paper but also to the action and process of mounting itself. The title thus reflects the artist’s affinity for traditional culture while embedding a complex and profound artistic expression infused with craftsmanship of labor and its results. This way of embedding meaning is profoundly suggestive: the process of mounting paper resonates with the process of carving and printing; and the substitution of impersonal (wu wo) material impressions for emotionally revealing hand-drawn strokes is also part of the printmaker’s unique aesthetic disposition. Here, however, rather than a return to the artist’s printmaking sensibilities, it is better understood as the natural convergence between the unadorned, tranquil, and selfless genes of Chinese aesthetics and the intrinsic ethos of printmaking.
If the “new artistic realm” Wang Jieyin has forged since the turn of the century is the result of the synthesis of his manifold life experiences and wide-ranging artistic explorations, then the new forms of “landscape”—or “scenery”—assembled from specially made “paperboard” that Accretions designates are a concentrated expression of his ever-expanding artistic vision, increasingly unrestrained creative attitude, and ever more essentialized aesthetic pursuit: He does not cling to artistic expressions that are ethereal, spontaneous, or stylistically pronounced; instead, through layer upon layer of unadorned, tranquil, and nearly selfless traces, he allows “landscape” or “scenery” to emerge—faint, pared-down, yet quietly resonant. I am more inclined to call them “stratified inner landscape”: Whether it is “shan-shui” in Chinese traditional culture, “landscape” in Western painting, or the commonly used “scenery” in contemporary culture, these “low-pictorial” visual images are difficult to define. They resemble the natural outgrowth of the artist’s accumulated inner sensibilities, indeed conveying a realm that is simultaneously pared-down and profoundly rich.
— Fang Zhiling
