Tag Archives: chui pui chee

Chui Pui-Chee 徐沛之 (b. 1980)

Born in Hong Kong in 1980, Chui Pui-Chee graduated from Queen’s College, Hong Kong in 1999. Chui studied Calligraphy under Chinese contemporary artist Jat See-Yeu at the Department of Fine Arts of The Chinese University of Hong Kong (CUHK). He furthered his postgraduate studies at the Department of Chinese Calligraphy at the China Academy of Art where he obtained his Master of Arts, and subsequently his PhD under the tutelage of world-renowned Chinese contemporary artist Wang Dongling.

Chui is well known for his expressive calligraphy and thought-provoking anthropomorphic paintings. Well versed in various calligraphy scripts, his paintings are guided by the principles and structures of calligraphic fundamentals. Through their juxtaposition and interaction, he creates amusing new works that redefine both genres. With the literati tradition as a point of departure, the ‘Nine Abyssesseries is a magnificent example of Chui Pui-Chee’s work. Landscapes with delicate details are fused with an expressive splashed-ink background. Chui arduously adds details with gongbi (literally neat brushstroke”) technique to depict the pine trees and jagged rocks rising from the abysses. Through the serenity and purity of the Northern Song dynasty landscape, self-cultivation and the realm of life are reflected. 

Chui served as a programme coordinator at the School of Continuing and Professional Studies, CUHK and a part-time lecturer at the Hong Kong University of Science and Technology. He was an Honorary Advisor of the School of Continuing and Professional Studies, CUHK. He also worked in the Chinese Paintings and Calligraphy Department of China Guardian (HK) Auctions. Chui is currently a part-time lecturer at CUHK and Hong Kong Baptist University, an executive member of The Jiazi Society of Calligraphy and Friends of Shizhai, as well as a research fellow of the Modern Calligraphy Research Center of China Academy of Art.

In 2012, Chui Pui-Chee received the Hong Kong Contemporary Art Awards – Young Artist Award, presented by the Leisure and Cultural Services Department. He also received the Award for Young Artist (Visual Arts) at the Hong Kong Arts Development Awards 2015 organised by the Hong Kong Arts Development Council. He was a finalist in The Sovereign Asian Art Prize in 2015, 2018 and 2020. Chui has held various solo and group exhibitions in Hong Kong, China and the rest of the world. His works are permanently collected by the Hong Kong Museum of Art, Ashmolean Museum of Art and Archaeology of the University of Oxford and more.

Education

  • 2010 | PhD, Department of Chinese Calligraphy, China Academy of Art
  • 2007 | M.A., Department of Chinese Calligraphy, China Academy of Art
  • 2003 | B.A., Department of Fine Arts, The Chinese University of Hong Kong
  • 1999 | Queen’s College

Selected Solo Exhibitions

  • 2018 | ‘Bedtime Stories’, Grotto Fine Art, Hong Kong
  • 2015 | ‘My Tiresome at the Bottom of the Valley’, Grotto Fine Art, Hong Kong
  • 2013 | ‘Chui Pui-chee – In Calligraphy In Me’, Grotto Fine Art, Hong Kong
  • 2011 | ‘Review and Prospects: Works of Chinese Calligraphy by Chui Pui-chee 2011’, Hong Kong

Selected Group Exhibitions

  • 2021 | Flower, Not, iPreciation, Singapore
  • 2020 | ‘Now Showing’, Karin Weber Gallery, HK / ‘Dawn Chorus’, Happen with HART, HART Hall, H Queen’s, HK / ‘The 2020 Sovereign Asian Art Prize: Shortlisted Finalists Exhibition’, K11 HACC, Hong Kong
  • 2019 | Classics Remix: The Hong Kong Viewpoint, Hong Kong Museum of Art / ‘Together We March Forward: New Asia 70th Anniversary Art Exhibition’, HART Hall, H Queen’s, Hong Kong
  • 2018 | ‘The 2018 Sovereign Asian Art Prize: Shortlisted Finalists Exhibition’, HART Hall, H Queen’s, Hong Kong
  • 2017 |’Ensuring the Best Influence for Her Son Mencius’, Ink Asia 2017, Hong Kong / ‘Hong Kong Cancer Fund Charity Auction’, Hong Kong
  • 2015 | Senses, University Museum and Art Gallery, The University of Hong Kong / A Tale of Two Cities – Painting and Calligraphy by Shanghai and Hong Kong Artists / ‘Calm Non-action’, Hong Kong / ‘INKcarnation: Literary Tattoos’, Hong Kong / ‘The / Sovereign Asian Art Prize: Shortlisted Finalists Exhibition’, Hong Kong / ‘Hong Kong Cancer Fund Charity Auction’, Hong Kong / ‘Calligraphy and non-Calligraphy: 2015 Hangzhou International Modern Calligraphy Exhibition’, Hangzhou, China
  • 2014 | ‘Elephant Parade Hong Kong’, Hong Kong / ‘SCMP Charity Art Auction’, Hong Kong
  • 2013 | ‘International Modern Calligraphy Exhibition’, Hangzhou, China / ‘Calligraphy Exhibition of Contemporary Calligraphers from Hong Kong’, Hong Kong / ‘Hong Kong Cancer Fund Charity Auction’, Hong Kong / ‘Hong Kong Contemporary Art Awards 2012’, Hong Kong Museum of Art / ‘Artworks by 9 Hong Kong Alumni of China Academy of Art 2012’, Hong Kong / ‘With the boundary –Biennial Exhibition of Lanting Calligraphy Society’, Hangzhou 
  • 2012 | ‘International Calligraphy Exhibition’, Shinjang / ‘Calligraphy Exhibition of Art Museum of Zhang Hai’, Henan 
  • 2010 | ‘Calligraphy Exhibition of Hong Kong Contemporary Calligraphers’, Hong Kong / ‘Calligraphy, non-Calligraphy – International Modern Calligraphy Exhibition’, Hangzhou
  • 2006 | ‘Works of Chinese Calligraphy of Jiazi Society’, The Victoria and Albert Museum, London / ‘International Calligraphy and Seal Carving Exhibition of Xiling Society of Seal Arts’, Hangzhou, China
  • 2005 | ‘Hong Kong Art Biennial Exhibition 2005’, Hong Kong Museum of Art
  • 2003 | ‘Hong Kong Art Biennial Exhibition 2003’, Hong Kong Museum of Art 

Awards

  • 2020 | Finalist of The 2020 Sovereign Asian Art Prize
  • 2018 | Finalist of The 2018 Sovereign Asian Art Prize 
  • 2015-16 | Award for Young Artist (Visual Arts) of the Hong Kong Arts Development Awards 2015, 2016
  • 2015 | Finalist of The 2015 Sovereign Asian Art Prize
  • 2012 | ‘Young Artist Award’, Hong Kong Contemporary Art Awards 2012

Permanent Collections

  • Hong Kong Museum of Art, Hong Kong
  • Ashmolean Museum of Art and Archaeology of the University of Oxford, United Kingdom

For full list of exhibitions and collections, please contact the gallery at enquiry@ipreciation.com.


Artwork Images

Flower, Not 《花非花》 – A Group Exhibition at iPreciation

 


A Group Exhibition by Oh Chai Hoo 胡財和 (b. 1960), Song Ling 宋陵 (b. 1961), Hua Jun 花俊 (b. 1970), Wang Shaoqiang 王紹強 (b. 1970),  Jiang Heng 江衡 (b. 1972), Tan Seow Wei 陳曉薇 (b. 1979) and Chui Pui Chee 徐沛之 (b. 1980)

Venue: iPreciation (誰先覺), 50 Cuscaden Road, HPL House #01-01, Singapore 249724 

Private Preview: Feb 4, 2021  (By Invitation Only)

Exhibition Opens to Public: Feb 5 – Feb 27, 2021

(Due to social distancing, prior viewing arrangement is recommended. Please cal6339 0678 or email Brian at brian.foong@ipreciation.com)

花非花,霧非霧,

夜半來,天明去。

來如春夢幾多時?

去似朝雲無覓處。

A flower it seems, perhaps not. Was it the mist? I do not know.

She comes at night and leaves at cockcrow.

Much like a dream that could not stay.

Or maybe the clouds, fading away.

– Bai Juyi, Tang Dynasty

Our love affair with the bloom and wither dates back centuries. It continues to manifest in the present time, but there is more than meets the eye. Borrowing a line from Bai Juyis poem, and much like Magrittes La Trahison des images, Flower, Not is a study on the relationship between meaning and representation. Seeking new visual figures of speech, seven artists – Oh Chai Hoo (b. 1960), Song Ling (b. 1961), Hua Jun (b. 1970), Wang Shaoqiang (b. 1970), Jiang Heng (b. 1972), Tan Seow Wei (b. 1979) and Chui Pui-Chee (b. 1980), drew on their cultural heritages, socio-political backgrounds and generational influences to imbue fresh connotations to the age-old imagery.

The lionhearted Song Ling presents his rebellious take on the ironic phenomenon of alienation and isolation in an increasingly connected world. Maintaining an unwavering stance to celebrate imperfections, Oh Chai Hoo is back to question an impetuous world that downplays the beauty of flaws. Just as Wang Shaoqiang continues to sail through contemporary Chinese ink with his landscape imageries that interweave latter-day influences and ancient origins, the ancient Heart Sutra finds its perpetual modern relevance through the quirky lens of Hua Jun. Jiang Heng remains committed to confronting the pervasive nature of materialism and the struggle to uphold established moral ideals. In such times of uncertainty, Tan Seow Wei has constructed a quaint, whimsical place for retreat and to embrace oneself. Chui Pui-chee too finds solace in a realm that is long gone yet vividly present within his retrained brushstrokes.

Together, their works form a critical subtext of modernity.