| Biography | Artist Statement | Inventory Catalogue | Artists Represented | Mimi Chen Ting


Biography
Born in Shanghai, China
Resident of New Mexico and California, USA since 1965
Received B.A. in 1969 and M.A. in 1976 with concentration on painting from California State University
Has taught art at the San Jose City College and the University of California in Berkeley


Inventory Catalogue

Selected Solo Exhibitions
2017
"Willing to Fly", Jen Tough Gallery, Vallejo, California
2014
"Strands", Art Beatus (Vancouver) Consultancy Ltd., Vancouver, Canada
2013
"On the Move", Hulse/Warman Gallery, Taos, New Mexico

"In the Groove", Encore Gallery, Taos Center for the Arts, Taos, New Mexico

"Off the Wall", The Historical Taos Inn, Taos, New Mexico
2012
"Between Space and Time", Harwood Museum of Art, Curator's Wall, Taos, New Mexico
2011
"Twists and Turns", Art Beatus Gallery Hong Kong (Peel Street), Hong Kong
2008
"Tangles and Ties", Art Beatus Gallery Hong Kong (Graham Street), Hong Kong

LOKA Art Space, Taos, New Mexico. Curated by David Hardy
2007
D'Adamo/Woltz Gallery, Seattle, Washington. Curated by Susan Woltz
2005
"3 Paintings", The Harwood Museum of Art, Taos, New Mexico. Curated by David Witt

"Time Tracks", Thomson Hall Gallery, Sausalito, California. Curated by Louise Forbush

Belvedere-Tiburon Public Library, Tiburon, California
1999
Quantum Corporation Galleries, Milpitas, California
1997
Maude Kerne Art Center, Eugene, Oregon
1995
"Art for the Wall", Los Gatos Fine Arts Commission, Los Gatos, California. Curated by Ann Lamborn
1994
"New Works", d.p. Fong Galleries, San Jose, California
1993
"New Works", Taos Fine Art Gallery, Taos, New Mexico. Curated by Suzanne Perna
1992
"New Works", Twin Cranes Gallery, Seattle, Washington. Curated by Geraldine H. Murray

"Paintings and Prints", Oakland Museum Collectors Gallery, Oakland, California

"Of Face and Fiction", The University of Arizona Rotunda Gallery, Tucson, Arizona. Curated by Karen Erickson

"Beyond Figuration", Merced College Art Gallery, Merced, California. Curated by Leslie Frazier
1991
"Monotypes and Paintings", Stanford University Center for Integrated Studies, Palo Alto, California. Curated by Priscilla Hexter

"Recent Works", Santa Clara County Art Council, San Jose, California. Curated by Eugene Haney
1990
"Just Pictures", Rosicrucian Museum Contemporary Gallery, San Jose, California. Curated by George Rivera
1988
"Monotypes", Allegra Gallery, San Jose, California. Curated by Russell Moore
1987
"Works on Paper", Asian Resource Gallery, Oakland, California
1986
"Monotypes", Oakland Museum Collectors Gallery, Oakland, California. Curated by Vivien Fischback
1979
"Jujube Waves and Related Matters", California State University, San Jose Gallery, San Jose, California
1970
Lucien Labaudt Gallery, San Francisco, California

Selected Group Exhibitions

2016
"Non Objective Taos", 203 Fine Arts Gallery, Taos, New Mexico
2015
"Gallery Printmakers", Hulse Warman Gallery, Taos, New Mexico

"Pressing Through Time", Taos Center for the Arts, New Mexico

"Studio Visit Juried Exhibition in Print", sponsored by New American Paintings

"Colours and Forms", Art Beatus Gallery, Vancouver, Canada
2012
"Taos Contemporary", Invitational, Metropolitan State College of Denver Center of Visual Art, Denver, Colorado

"Distinguished Achievement Awards", Taos, New Mexico

"Enter the Dragon", Two-person exhibition, Eliza Contemporary Art, Riverdale, New York
2011
"Orange", Eliza Contemporary Art, Riverdale, New York

"18 Days", National Museum of Women in the Arts, Juried, CCA, Santa Fe, New Mexico

"Mostly Taos", Hulse Warman Gallery, Taos, New Mexico
2010
"In Bloom", Eliza Contemporary Art, Riverdale, New York

"The Fair Continues", Art Beatus Gallery Hong Kong (Peel Street), Hong Kong

Art Hong Kong - Hong Kong International Art Fair, Art Beatus Gallery Hong Kong, Hong Kong Exhibition and Convention Centre, Wanchai, Hong Kong
2007
"Exploring Multiple Dimensions", The Albuquerque Museum of Art, Alburquerque, New Mexico.  Juried by Gerry Riggs and Nancy Azara
2006
"Biennial Southwest 06", The Albuquerque Museum, Albuquerque, New Mexico. Juried by Neal Benezra, Director of the San Francisco Museum of Modern Art

"Making Connections", Falkirk Cultural Center, San Rafael, California. Curated by Beth Goldberg
2005
"Handprints", New Mexico Print Society, University of New Mexico, Los Alamos, New Mexico

"Face to Face", Corrales Bosque Gallery, Corrales, New Mexico

"A Multiplicity of Visions", California State University, Dominguez Hill University Gallery, California. Juried by Kathy Zimmerer-McKelvie

"La Madre Poderosa", Harwood Museum of Art, Taos, New Mexico. Curated by Olga Torres-Reid
2004
"Rocky Mountain Biennial", Museum of Contemporary Art, Fort Collins, Colorado
2003
"Fire in the Heart: the Creative Spirit", Schneider Museum of Art, Ashland, Oregon

"Art of the Book in the Southwest", The Millicent Rogers Museum, Taos, New Mexico. Curated by Ebby Malmgren
2002
"Landscape and Memory", Sedona Art Center Gallery, Sedona, Arizona
2001
"Shadow and Light", South of Broadway Cultural Center, Albuquerque, New Mexico
2000
"The Birth of Wisdom", Chapelle Des Penitents Blanc, Gordes, France: St. John's College, Santa Fe, New Mexico
1999
University of Phoenix, Phoenix, Arizona. Curated by Virginia Spirling
1997
"Impressionism to Abstraction", Dearing Galleries, Taos, New Mexico
1996
"Moore Art II", Villa Montalvo Center for the Arts, Saratoga, California. Curated by Reid Winfrey and Robin Smith
1994
"Layered Perspective", Walton Arts Center, Fayetteville, Arkansas. Juried by Rebecca Johnson

"Women and the Body", Works Gallery, San Jose, California. Juried by Kiki Smith

"Gathering Medicine", Art in General, New York, New York

"The Exhibitioner", Sea Cliff Gallery, Sea Cliff, New York. Juried by Robyn Bellospirito
1993
"Layering", Dartmouth Street Gallery, Albuquerque, New Mexico. Juried by John Cacciatore

"Box Project", Salina Art Center, Salina, Kansas; Lowe Art Museum, University of Miami, Florida; Delaware State College Gallery, Dover, Delaware; Bruce R. Watkins Center, Kansas City, Missouri
1988
"A World Without War", Stae Capital Building, Sacramento, California; American School of Fine Arts, Singapore; The American Embassy, Malaysia; Art Forum, Singapore, Manuka City Gallery, New Zealand. Curated by Helen McKinley

Awards and Honors

2012
Agnes Martin Award for Abstract Painting and Drawing
2003
National Endownment of the Arts Grant
1971
Second Prize in Painting, Lodi Art Festival, Lodi, California

Selected Public, Corporate and Private Collections

Advance Micro Device, California
AG & Associates, California
American Telegraph and Telephone, California
Annie Wong Art Foundation, Hong Kong
Apollo Corporation, Arizona
California Bankers Association, California
Caroon and Black Insurance, California
Cheatham and Skovronski Law Offices, California
Dianne and John Ryan
Fawn Powers and Roger Poyner
Good Samaritan Hospital, California
Harwood Museum, New Mexico
Joseph and Eva Zirker
Kaiser Permanente Hospitals, California
Lois and Richard Abraham
Megatest Inc., California
Nordin Blacker Law Offices, California
Norman Lariviere Law Offices, California
Pacific Bell Inc., California
Pillsbury, Madison & Sotro Inc., California
Read-Rite Corporation, California
Robert J. Pope & Associates, California
Roger Poyner Law Offices, California
SBC Communications, California
Sperling Fine Arts, California
Spieker Partners, California
Stanford University Hospital, California
Stevens Musica and Violin Shop, California
University of Phoenix, Arizona
Xerox Corporation, California

Artist Statement

When I enter the studio, I am like an irrepressible child, eager for play. All that I am and encounter infects my imagination and imbues my motivation.  I thrill at making marks and cherish the meanderings each medium proffers.

My initial approach to a canvas is purely experiential and physical. Whether it is seeded in play or protest, I begin with a gestural drawing on an expanse of canvas pinned to the wall, the stick of charcoal acting as an extension of my arm. I feel my way between alternating layering of paint and charcoal for what lies in wait, mining the incidental intersections, overlaps, and spaces in-between for clues and revelations, until I find resonance with shapes that emerge. Then I erase or hide all that is superfluous, using the remaining lines and colors as the bedrock for expansion and elaboration. Though impulse and uncertainty drive my process, I am mindful and deliberate in practice. I enjoy nursing and teasing my shapes and colors until they butt against each other along edges that pull at and push into the adjacent spaces, struggling for middle-ground, leaving behind memories of their former selves. Working this way challenges me to see with my mind that which is invisible to my eyes, enables me to shape the intangible, and allows me to invent my own rhythm.

While studio life is necessarily solitary, I am never far from the world, and all natural occurrences and political events lap at my consciousness. The world is in flux. Even though I cannot control what goes on, I can bear witness. For example, “Island” remembers the earthquake and tsunami in Japan; “Nest 1” and “Nest 2”, “Breeze 1” and “Gold Hills” are the comfort and solace I want to offer; “Passages 1”, “Divertimento 3” and “Bridge 1” mark the paths to be traveled. This spring, I hurt my back and truly learned to appreciate the importance of “My Sciatica”. For most of July this summer, with my home state of New Mexico surrounded by wild fires, and our beautiful mountain obscured by “Smoke”, I felt lost and longed for clarity. Sometimes, a shot of energy come from within and “Swirls” like a hurricane. “Mojo 1” and “Mojo 2” are these energies waiting to be tapped, ready to take action. Even if “It Got Complicated”, I believe that if I am agile, adaptable, and determined, I can find my footing, maintain my bearing, and navigate my way forward.

Since I prefer to work on several pieces at one time, I enjoy the luxury of voicing different points of view, and examining the multiple facets of a single issue. It is often like carrying on full-fledge discussions or arguments with myself. These choruses can be raucous or pensive, or downright hilarious, and are almost always humbling. At any rate, they never bore, and keep me tireless and restless. As an artist, I am privileged to forge a path of my own choosing. It is a journey that is long and often arduous. Yet it must not be hurried, for every turn promises an adventure, and each passage takes me one step closer toward home.

Mimi Chen Ting
2011

For further information, please contact:

Canada: tel: (1) 604.688.2633, fax: (1) 604.688.2685