Ming Ren’s work has deep roots in Chinese ink and brush painting. His earlier work more literally composes landscapes that reflect ancient Chinese forms and traditions from the seeming random pouring and washings of his pigments. In these more recent works, Ren achieves an almost geologic sensibility through the pouring of his paints, twisting of the wet Shuan papers, and the chance movement and absorption of the colors in them. The painted surfaces seem almost like marble, gem stones, quartz and other hard surfaced materials. The opposition of the real softness of the paper and the washed pigments and the illusion of hardness of fire-pressed fissures of stone explodes the traditional Chinese imagery by expanding the potential of its technique. While historic Chinese fashion dictates tight discipline, Ren challenges this rigor by expanding the potential of the medium through his own careful experimentation.
Dr. Roger Mandle, (1941-2020), Former Deputy Director and Chief Curator of the National Gallery of Art
