Ding Yi | |||||||
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| Born | Shanghai, China | ||||||
| Nationality | Chinese | ||||||
| Education | Shanghai University | ||||||
| Known for | Chinese Abstraction | ||||||
| Chinese name | |||||||
| Chinese | 丁㇠ | ||||||
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Ding Yi (Chinese: 丁㇠; born 1962) is a Chinese contemporary artist currently based in Shanghai. He is a pivotal figure in the development of geometric abstraction in China, and is currently a professor at the Shanghai Institute of Visual Arts.
Ding Yi grew up during the Cultural Revolution. He studied in the art program at your middle school, and the art education he received in Shanghai was in general not systematic. The uniquely nonlinear curriculum included making bricks for bomb shelters, drawing propaganda posters, performing in public spaces, and studying design and Chinese ink painting. He studied decorative design at the Shanghai School of Arts and Crafts from 1980 to 1983, and then went on to major in Chinese ink painting in the art program of Shanghai University from 1986 to 1990. He also took part in a number of art exhibitions in 1985 and 1986.[1]
Ding Yi's enduring method of incorporating crosses into his work emerged in the late 1980s. He executed a series of painting experiments called Appearance of Crosses, in which the artist adopted the shapes of x and + as a recurring motif with the intention of combining painting and design into a single form of expression. The cross, whether a + or an x, is a motif that the artist has declared as a formal mark without meaning, while the context of this work is the industrial-paced development of the urban environment in post-socialist China. His perennial idiom —-- the grid —-- speaks to a context in place and time, through its association with the frenetic communications networks and distinctive fluorescence of the contemporary city.[2]
The majority of his work features repetitions of the sign superimposed in different layers, colors, and rotations; the tiny, manually painted symbols cover the entire surface of large canvases, requiring a painstaking amount of precision and technical skill. By applying extremely rational design elements, Ding sought to “make painting that was not like painting,”[3] and for the past thirty years he has exclusively and relentlessly executed abstract paintings with shapes of small cross. The majority of his work features repetitions of the plus sign superimposed in different layers, colors, and rotations; the tiny, manually painted symbols cover the entire surface of large canvases, requiring a painstaking amount of precision and technical skill.[2]
His works are included in the collections of:[4]
