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Ju Ting

China is the cradle of woodblock printing. In 1900, the manuscript the Diamond Sutra was discovered in a grotto in Dunhuang. Dated “the fifteenth day of the fourth month of the ninth year of the Xiantong era”, it shows that during the Tang dynasty, and as early as 868, printed material of great quality already existed in China. The Open-Door Policy launched in the 1980’s paved the way for renewed thinking on print–making and its techniques, generating myriad creations throughout China. At the same time this renewal remains deeply grounded in the traditions of excellence, it also led to the exploration of a greater variety of subject matters and of a new artistic vocabulary. This laid the foundation for the creation of the numerous conceptual and experimental pieces that have contributed to expand the repertoire of today’s forms of expression.

Ju Ting creates her pieces by engraving on a background constituted of many layers of paint, using a process reminiscent of wood-block making. Pigments become the object of her work – applied one after the other, they leave their mark on each stage of the creation process, modeling a three-dimensional space on the flat surface. This allows us to witness not only the emotions inherent to a painting in the making, but also to the artist’s inner space and creative power. Seen up close, these images, done with impeccable technique and dexterity, display a primitive and rough beauty; seen from afar, they become abstract paintings, filled with grace.

The creative process is not without hurdles: once they leave school, the great majority of printing department new graduates find themselves without equipment or workspace. Yet Ju Ting utilizes these constraints to advantage in her thinking process and in her artistic experimentations. She refuses to be confined by restrictions imposed either by technical demands or by conventions, and demonstrates her creativity by choosing a more pro-active and more interesting work methodology.

Ju Ting’s work follows a procedure very similar to wood block making, which requires the regular application of numerous layers. This very specialized process that can be traced back to chromotypography, is very much evidenced in the artist’s work. She constructs her images by using layer upon layer of different shades of greys or colors. The more intense the layering, the richer the visual information becomes. It is on this strata of marbled pigments that she engraves the artwork’s « skeleton», giving the completed piece the appearance of a woodblock ready to be printed. However, this creates an experience significantly different from one that could have been felt in the past: instead of a flat surface, the background medium is scraped with numerous beautiful lacerations that conjure up both a visual and a sensorial effect. Very skillfully, Ju Ting manages to make full use of her traditional technical heritage to create a body of work that has perfect relevance in today’s world.
As far as Ju Ting is concerned, everything is just beginning.

Tan Ping
Vice President CAFA

CONTACT

Yishu 8
Former Sino-French University, 
N°20 (jia), Dong Huangchenggen Bei Jie, Dongcheng district, Beijing 100010
北京市 东城区东皇城根北街甲20号
(原中法大学) 
 
Tel : +8610 6581 9058
 

找到我们

Yishu 8
Former Sino-French University, 
N°20 (jia), Dong Huangchenggen Bei Jie, Dongcheng district, Beijing 100010
北京市 东城区东皇城根北街甲20号
(原中法大学) 
 
Tel : +8610 6581 9058
 

CONTACT

Yishu 8
Former Sino-French University, 
N°20 (jia), Dong Huangchenggen Bei Jie, Dongcheng district, Beijing 100010
北京市 东城区东皇城根北街甲20号
(原中法大学) 
 
Tel : +8610 6581 9058
 

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