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.
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”
The Composition of a Garden: The Perpetual Existence and Extinction of Schema in Bu Di’s Works
From Pine Needles to Willow Groves
About Bu Di Conversation
Participants: Bu Di, Liu Ye and Hao Liang
REVIEW FROM “PINE GARDEN”