Zheng Chongbin was born in Shanghai and attended Zhejiang Academy of Fine Arts to study Chinese Paintings, where he taught for four years after graduating in 1984. In 1989 he was awarded the First International Fellowship to further his training at the San Francisco Art Institute, acquiring his MFA in 1991. He currently resides in San Francisco with a studio in Shanghai. As one of the most notable artists in this emerging Chinese ink painting scene, Zheng was awarded Artist Excellence Exhibition Series Grant by the San Francisco Chinese Cultural Foundation in 2011, and further included into Christie��s exhibition on Chinese contemporary Ink that featured pioneering artists first gaining prominence from abroad such as Liu Kuo-sung, Gu Wenda, Xu Bing, Yang Jiechang, Qing Feng, and Qiu Zhijie. He is awarded the permanent site-specific installation art project from Moshe Safdie Associates, and commissioned by The Sand’s Corporation at Marina Bay Sands Integrated Resort in Singapore. His works are in the collection of the British Museum, San Francisco Asian Art Museum, Marina Bay Sands, Singapore, Daimler Art Collection, Germany, DSL Collection, France. He has had solo and group exhibitions at the Hong Kong Arts Centre, Hong Kong, Shanghai Art Museum, Shanghai, Palazzo Mora, Venice Biennale, Italy, University of Alberta Museum, Alberta, Canada, Taipei 2010 Contemporary Ink Painting Biennale, Taiwan, Asian Art Museum, San Francisco, Asian Pacific Art Museum, Pasadena, Pusan Museum of Modern Art, South Korea, China National Art Institute, Beijing, The Third Chengdu Biennale, Chengdu, China, and National Art Museum, Beijing.
Chinese ink a traditional medium with the associated cultural background that Zheng was trained in Hangzhou, China; and the physicality of light that he is exposed to in San Francisco California, USA where he is now based. He was exposed to Californian sunshine and also influenced by the Californian Light, Space movement artists and their focus on perceptual phenomena including light, volume and scale and use of transparent, translucent or reflective material to heighten the viewer��s sensory and experience of light. Zheng is attracted by the physicality of ink as material with the associated opacity, tactility and volume as compared with the transparency and porosity that are usually associated with ink �V and finds in Chinese ink a potential for the medium as the subject. His unique hybrid visual language is a result of his personal experiences and diaspora position of negotiating ��in-between�� the physicality of light he is exposed to in California and understanding of his own ink medium conditioned by its cultural duality situated between two continents.