Mr. Chen Jiuteng's creation is a dialogue with classical landscape painting, a subversive inquiry into tradition. What seems like an abstract symphony of ink and color is in fact a distilled essence of landscape. The final image is neither a literal depiction of scenery nor pure abstraction, but a contemporary interpretation of wu wo liang wang—the state where self and nature become one, within the realm of Eastern aesthetics.

The physical exhibition space of Mr. Chen Jiuteng is located at 653 S Melrose St., Placentia, CA 92870

Creative Methodology
• Deconstruction and Symbiosis: Replacing the depiction of a solitary “tree” with the collective consciousness of a “forest.” Layered brushstrokes generate a living rhythm, axe-stroke textures transform into emotional strata, while mineral greens and blues pulse like a breath.
• Flow Embodied: The act of painting itself becomes the logic of image-making. Broad, forceful splashes embody passionate release, while delicate, layered washes embody meditative stillness. The final picture becomes a fossil of time and energy embedded in xuan paper.
• The Philosophy of Ink and Color: Preserving the classical wisdom of “using void as substance,” yet rendering emptiness with a liquid sense of permeability. As mineral pigments accumulate in translucent layers, they create a visual resonance akin to the harmonics of the guqin.

Aesthetic Features
What seems to be an abstract symphony of ink and color is in truth the distilled DNA of landscape painting:
• Swift strokes echoing the fleeting shadow of wind across ridgelines
• Slow washes resembling the patient growth of moss upon stone
• Bold pigments concealing the skeletal strength of Northern Song mountains
• Expanses of breathing void recalling the literati spirit of Yuan painting

It is a precarious balance: just as the passion of brush and ink threatens to dissolve all imagery, the sudden emergence of refined textural strokes draws everything back into the Zen realm of “between likeness and unlikeness.” The result is neither a diagram of scenery nor pure abstraction, but a contemporary interpretation of the Eastern aesthetic ideal — the unity of self and nature, where both are forgotten.

All visual effects derive solely from the native language of Chinese brush and ink, with no recourse to non-Eastern media.
1. A subversive surface, yet grounded in traditional essence
2. A philosophical unity between process and final image
3. A balance between technical rigor and aesthetic innovation