b. 1967    Artist CV

Portrait by Li Yuqi

JIANG Ji’an was born in 1967 in Yantai, Shandong Province. Jiang is an inheritor of Claborate-style Painting and also a representative figure in the Neo Claborate-style painting. His artworks are not bounded by tradition and his unique approaches differentiate him from the past claborate-style artists. Jiang Ji’an’s art can be summed up as a form of representation in which he reflects upon the system of representation itself, representing modes of re-presentation as its re-presentational content. In each phase of his art practice, which has gradually expanded its scope from the early 90s all the way to the present, the artist highlights the issue of re-presentation through specific examples, generating a cogitative dimension through intuitive visual experience.

As the first artist to propose the concept of “readymade painting” in the Chinese Contemporary art scene, Jiang Ji’an follows the style of “selflessness” in the classical principle of “seeing from the perspective of object”. The artist’s early years in researching folk art resulted in his delicate and acute insight. The materials for “readymade painting” all came from daily objects. In passing on the painting traditions, Jiang not only preserved the painting method but also investigated issues as regards paintings in the era of digital technology. In his Silk series and Tea series, the artist deconstructed the readymades and re-presented them in a painterly style. The Eastern aesthetics of “correspondence to object” has reflected in Jiang Ji’an’s artworks in the past decade. The aim was to recreate a “system of everyday art” in the traditional sense. Jiang tends to favor the interaction between viewers and the works. In Two Room Flat, the artist placed the issue of painting onto the readymade objects and the delusionary space and eventually formed a reverse thinking. Through light and silhouette in between the real and the illusory, the artist questioned the reality. Jiang’s artworks have explored the various possibilities in contemporary art; as a result, Jiang Ji’an’s art is a sensory introspection and self-referent in ideas, comprehending “reality” as an existing system and thus remaining in a state of uncertainty.

Jiang’s artworks were collected by institutions including New York Newark Museum, Busan Culture Centre, Macao Museum of Art and CAFA Central Academy of Fine Arts Art Museum (Beijing).



Tea Gathering Miniature (tie)

Old Friends Tea Ware

Son-in-law Banquet

Spilling / Saliva

Sweet Dew Temple

Snow Boiling on the Winter Stove

Lines Infused on Bamboo Slips – Part 1

Lines Infused on Bamboo Slips – Part 2

Hall Infused with Floral Scent

Soothing Tea, Coarsely Heated

Simmering Rainwater amid an Autumn Breeze

Clarified Butter Trio – Part 1

Clarified Butter Trio – Part 2

Clarified Butter Trio – Part 3

The Sound of Rain Hitting Boiling Water

Cooking Under the Pine Trees Beside a Moonlit Brook

Floating in a Secluded Bamboo Grove

Bug Book Bird Trace Bird Book Bug – Part 1

Bug Book Bird Trace Bird Book Bug – Part 2

Letter Seal Galloping Horse Galloping Seal Letter-Part 1

Letter Sealed Dashing Stallion Dashing Sealed Letter-Part 2

Winter Wood Snow Road Snow Wood Winter

Palindrome Algorithm

Silk Scroll Epoch  – Part 1

Silk Scroll Epoch  – Part 2

Standing Shadow Lonely Shadow Standing

Veil Silk Half-Covered Silk Veil

Cracked Cloth Duplicate Cloth Cracked

Falling Petals Withering Spot Withering Petals Falling

Plums Blooming Half Tree Half Blooming Plums

Bottle Deep Duplicate Deep Bottle

Gently Fold Slowly Unfold Slowly Fold Gently

Autumn Residual Grass Scarce Grass Residual Autumn

Pine With Crane Shadow Crane With Pine

Picture of Five Persimmons

Shadow Cast Bamboo Branch Bamboo Cast Shadow

Positive and Negative Conjoined

Left and Right Confounded

Eight Days’ Feast

Shadow Tracing Method – No. 1

Shadow Tracing Method – No. 2

A Two Bedroom Place – No. 1

A Two Bedroom Place – No. 2

A Two Bedroom Place – No. 3

A Two Bedroom Place – No. 4

A Two Bedroom Place – No. 5

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