Mo Bingru currently lives in Guangzhou.
Professor of Guangzhou Academy of Fine Arts and tutor of master's students.
Director of the Department of Environmental Art and Design, Guangmei City College.
Member of the Environmental Art Professional Committee of Guangdong Civil Engineering and Architecture Society.
Director of Guangdong Environmental Art Design Industry Association.
Senior designer of China Interior Decoration Association.
He is a member of the Chinese Association of Interior Architects.
Recommended artists at the Guangzhou International Art Fair.
Invited artist of Chinese "She" art.
Member of Guangdong Artists Association.
Deputy Director of the Design Art Committee of Guangdong Women Painters Association.
His works have been selected for the "7th Guangdong Contemporary Oil Painting Art Exhibition" and "13th National Art Exhibition", and have held many solo exhibitions at the Guangdong Provincial Cultural Center and the Guangzhou Academy of Fine Arts.
Mo Bingru's experimental ink paintings strive to move from figuration to imagery to abstraction, embarking on an innovative path of ink painting and realizing the creative transformation and innovative development of traditional culture. With the theme of the myriad meteorologies between man and nature, the work explores the insight of art in the new era - expressing the harmony between man and nature.
1. The realm of mutual benefit between heaven and man. He tries to use experimental ink painting to solve the problems of art philosophy, focusing on the themes of virtual and real, yang and yin, space and time, objects and materials, etc. The work condenses the essence of the era of ink painting culture and its spirit—the feelings of the earth, the mutual benefit of heaven and man, and the depth and transparency of the heavenly terrain.
The truth behind the truth.
Mo Bingru's Contemporary Ink Experimentation.
"Reflection on the Truth" behind "Creating the Truth".
Mo Bingru's experimental ink paintings, mixed with improvisation, disorder, casualness and memory, produce the effect of ethereal, mysterious, ethereal, and ethereal, seemingly "unconscious" subjective painting behavior, but it makes people feel a kind of undercurrent surging, a sense of the passage of time, a mottled sense of history, a sense of instigation of breath, and a sense of agitation of the breath, implying our common emotional foundation. Therefore, her works have a strong sense of substitution, immersion and absorption, which is a very important image expression of abstract painting. It tries to pour out the spirit of ink and reveal the origin of the universe to us through the penetrating power of paper and the expansive power of ink.
Mo Bingru's abstract ink paintings are more of a creation than an experiment. Contemporary people's values are changing, psychological consciousness is changing, visual needs are changing, only continuous innovation can cater to its changes, ink innovation, first of all, concept innovation. Throughout the past, great artistic changes and innovations have been built on the basis of reflection, because the essence of art lies in the self-reflection on the core of life and the critical creation of human civilization. The Oriental "ink language" is a huge system based on Eastern philosophy, and in the relationship between the opposition and unity of abstraction and concreteness, Lao Tzu's "Chapter 14" says: "It is said to be formless, and the image without image is to be in a trance." The first one is missing, and then the one is gone. Therefore, the concrete comes from the abstract, and the abstract summarizes the concrete, which is the ideological height of the "Tao" of Eastern philosophy. Nowadays, the expression of objective objects and the form of the naked eye is far from enough to give full play to the artistic value of Chinese ink painting, and the spiritual attributes in contemporary ink painting are the ontological language that distinguishes ink painting from Western painting.
The "Truth of Art" behind "Truth of Design".
As a space design artist, Mo Bingru's ink experiments are not entangled in the debate between "traditional ink painting" and "contemporary ink painting", her experimentation comes from her own thinking and experimentation, application and extension of "design ontology", and she is more concerned with the relationship between ink and vision, the relationship between ink and space, and the relationship between ink and emotion. When art reacts to design, and design arises on the basis of art, we suddenly realize that design is not dead! Because excellent design comes from the expression of the connotation of multiple spaces, multiple interests, and multiple dimensional times, and the interest in it is the unity of multiple aesthetics, just like art, it is to explore the unknown territory and experiment with the potential consciousness.
The design thinks about how to have a larger physical and psychological space within a limited scope? The design thinks about how to symbiosis between life and life. Not only do we have life, but also space and architecture, and with life, they will continue to grow, reproduce, and integrate and coexist. In the retention of the original memory and the original form, the iteration and symbiosis are completed. Between the expansion of space and the symbiosis of life, design and art have invisibly completed the compatibility and transformation of rationality and sensibility.
As Mo Bingru said: "As a person, I feel that I am more like a synthesis of emotion and reason. When I need to think rationally, I try to be rigorous, and when I am in an emotional state to practice art, I don't want to follow the rules. As an artist with experience in space and environmental design, I not only pay attention to the content of these ink and wash practice works, but also think about how to actively intervene in various public spaces. It can also bring the viewer their own sensory experience, associative experience and in-depth thinking about the current environment and culture. ”
The "philosophical truth" behind the "superficial truth".
Mo Bingru's contemporary ink experiments take us back to the era of ancient mythology. The progress of science has opened our horizons to discover more unknown worlds for human beings and to see the beauty of the natural creation of the universe. But how to explain these illusory beings and wonderful creations? Perhaps some answers and recognition can be found in Mo Bingru's works. If we inquire and pursue the ultimate value of life from the philosophical and religious levels, and if we reveal the macroscopic and microscopic aspects of the universe from the level of desire and curiosity, we will find that the exploration of pure abstract ink art is an innovative development problem that plagues many Oriental artists. On the other hand, Mo Bingru's experimental works of ink painting allow us to awaken in the "lying flat" of self-depravity, and let us meditate in the "fall" of going downstream. This kind of truth exploration about "man and the universe" is looking for an "abstract truth", a conceptual truth behind a sensory truth, and a philosophical truth behind a superficial truth, which will eventually be the subversion of human cognition and habits of the future philosophical, religious, and spiritual worlds.
Text: Peng Wenbin.
Well-known art critic and curator.
Visiting Scholar (Fine Arts), Peking University