1. HUMAN STORY - a reply letter to Katie Edwards, 12 Jan 2008 (edited)

Dear Katie

Thank you for your interest in my latest work, Human Story . I am very happy to answer your questions.

To start with, influences on my arts practice so far:

a. When at my early teenage in China, I saw a reproduction of one of Rembrandt's self portrait paintings. I was wide open eyed to see oil paintings having such strong impact: the texture of oil paint profoundly revealed the skin of his ageing face. This image has been imprinted on my mind ever since. You would be able to see such quality in my work when I try to use heavy oil paint to maximise the volume of human figures.

b. I started my formal art studies at Guangzhou Academy of Fine Art when I was 15. All art training was very traditional both in Western art and Chinese art. During these 7 years, I had my wide contact with the Western art movements, however, I was generally traditional and was attracted to Degas work. From Degas, I learned a painting was constructed by the relationship between figures and background, and in terms of composition, both were equally important. Again, you would see such relationship is crucial in my latest work too.

c. El Greco and Francis Bacon have fundamental influence on my figure structures. The concept of movement of human structures and their connection to human emotional contents has provided me with a great ability to freely construct my human figures and beyond.

d. In my mid thirties, I studied art at University of Tasmania in Australia for a year. I learned more about Postmodernism and Contemporary art movements. They brought me back to focus on social contents their relationship with artistc expression. I dismissed art as being only technical developments. It is also a self discovery of artistic language deeply rooted in an artist's heart with his humanity concern. At the same time, I was so disappointed by lots of incompetent artists using Contemporary Art slogan in attempts to establish new artistic convention and orders. I was luckily able to see the connections between the traditional art I knew well and the contemporary art practice. This allows me to freely explore all possibities in order to develop my own artistc language.

e. I love the music of Beethoven and Shostakovich. listening to their music, I could almost feel the struggling human breath in their notes which made me understand how important an art form relates to its contents. I believe an artwork at its highest is its form and also its contents. Art is not only interesting excercises but a human story.

Now let me talk about my newest work:

It is all about humanity. Most of my newest paintings are based on current international events. It has developed through 2 stages:

1. A tension happens in the middle area of paintings which allows the run-down to destroy some part of a face;

2. A tension between figures and the empty background. Through my technique, the emptiness is destroying the substance of human figures. It is a depiction of human struggle and surviving in extremely hostile environments.

There are lots of contradictions in this series of work: the abstract elements dispute the realistic elements; the existance of traditional art technical values have been under threat by the contemporary tendency ; individual incidents generalise human fate, the emptiness of the background overpowers the figurative subjects, the complexity of idea is through simple form of narrative, and the colours struggle between being emotional or realistic.

The latest development in my paintings is the vast empty background and the minimised figurative elements. I have suddenly found my paintings look like paintings of one of my favourite Chinese traditional ink painter Pa Ta Shan Jen (Chu Ja) (1626-1705), and sculptures of Swiss artist Giacometti. How exciting!

I hope all the aboves would help and you are welcome to write to me if you have any more inquiries.

Best regards

Chen Ping

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