Rhymed Syntax-1

2020. Acrylic on canvas. 180×150 cm.

Rhymed Syntax-2

2020. Acrylic on canvas. 180×150cm.

Rhymed Syntax-3

2020. Acrylic on canvas. 180×150cm.

Autumnus Sacrum

2020. Acrylic on canvas. 180×150cm.

Carnival in Reminiscence of Genesis

2020. Acrylic on canvas. 180×150cm.

Tribute No. 3 to Spring in a Small Town

2020. Acrylic on canvas. 180×130cm.

2019-9-10

2019. Acrylic on canvas. 180×130cm.

2019 5-6

2019. Acrylic on canvas. 180×150 cm.2019. 布面丙烯. 180×150 cm.

Gray Pine

2017-2018. Acrylic on canvas. 180×180cm.

2016 NO.9

2018. Acrylic on canvas. 200×200cm.

The Spring of Newman

2018. Acrylic on canvas. 60×46 cm x 4.

Empirical Scenery 18-10

2018. Acrylic on canvas. 45.5 x 37.5 cm.

Tribute No. 1 to Spring in a Small Town

2018. Acrylic on canvas. 180×130cm.

Empirical Scenery 17-34

2017. Acrylic on canvas. 180.5×180.5cm.

Untitled 16-5

2016. Acrylic on canvas. 200×200 cm. 78 3/4 x 78 3/4 in.

2015-2

2015. Oil on canvas. 200×200cm.

2015-10

2015. Acrylic on canvas. 200×200cm.

2015-7

2015. Oio on canvas. 180×200cm.

2014-11

2014. Oil on canvas. 180×180cm.

Garden-3

2014. Oil on canvas. 200×200 cm.

Garden-4

2014. Oil on canvas. 80×200 cm.

Garden-7

2014. Oil on canvas. 45×200 cm.

The Soughing of Pines 6

2013. Oil on canvas. 200×200cm.

Garden-1

2013. Oil on canvas. 80×200 cm.

Green Waters-2

2012. Oil on canvas. 200×200 cm.

Secret Shades-1

2011. Oil on canvas. diameter 150 cm.

Bu Di

Born in 1970, Bu Di published the first catalog of Chinese children’s paintings at the age of nine. At the age of sixteen, he held an exhibition of children’s paintings at the Hong Kong Convention and Exhibition Centre. Within the past ten years, Bu Di has absorbed the modeling techniques of Chinese and global art history in a broad spectrum of time. In Bu Di’s various solo exhibitions in Beijing and Shanghai, the structure of his works has been continuously developed and evolved.

Bu Di has been working on various visual resources, including Buddhist art, early 20-century avant-garde painting and sculpture from the West, traditional calligraphy and even neorealist films. A pond is hidden behind his paintings. It’s hard to see the bottom of it, and, where the brushwork compacts and lingers, obscure schemata go out once they show up. So the artist has never rashly distilled images into schemata. His achievements are built on his judgment on history and experiences: no matter how much you aspire piously, no painting can take a definite and real panorama of anything, but can, at best, capture a segment of light and shadow from a perspective; where you can no longer go forward, you must retrace your steps and keep your confusions or anxieties so that you can start over when the time is right. Bravery is more needed by prudent truth-seeking than indomitable wild imagination. This is the very room, left by modernist art, for the development of Chinese artists in the 21st century.

Solo Exhibition

2020 The Composition of a Garden, Hive Center for Contemporary Art, Beijing, China

2019 Bu Di:Empirical Scenery, Vacancy Gallery, Shanghai, China

2016 Bu Di 2016, Hive Center for Contemporary Art, Beijing, China

2013 Bu Di Solo Exhibition, Xindong Cheng Gallery, Beijing, China

Bu Di’s “Transformation”

Wang Xiaoyu

The Composition of a Garden: The Perpetual Existence and Extinction of Schema in Bu Di’s Works

Yang Zi

From Pine Needles to Willow Groves

Zhu Zhu

绘画的珐琅——卜镝以及张光宇的遗产

徐累

About Bu Di Conversation

Participants: Bu Di, Liu Ye and Hao Liang

REVIEW FROM “PINE GARDEN”

Liu Ye

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