522 West 19th Street
New York, NY 10011
212 414 1169
Chambers Fine Art is a gallery specializing in contemporary Chinese art located in New York and Beijing. It was established by Christophe W. Mao in New York in 2000. Recognizing the need for a gallery that would serve as an authoritative source of information on the latest developments in the rapidly growing contemporary art world in China, Mao named his gallery after Sir William Chambers, the celebrated British architect who was a leading exponent of Chinese principles in garden design in the late eighteenth century. During the first seven years, artists including Lu Shengzhong, Hong Hao, Song Dong and Yin Xiuzhen had their first solo exhibitions in the USA. Since then a younger generation of artists including Wu Jian’an, Zhao Zhao, Fu Xiaotong, and Guo Hongwei has added different perspectives to the gallery profile. Since 2009 the gallery has occupied premises at 522 West 19th Street, a block that is noteworthy for a concentration of new buildings by Frank Gehry, Shigeru Ban and Jean Nouvel as well as proximity to the High Line, the former elevated railway track that has become a much admired public park. Now in its second decade, Chambers Fine Art has become one of the essential destinations for all those interested in the latest and best coming out of China.
Artists Represented:
Ai Weiwei 艾未未
Cai Jin 蔡锦
Cui Fei 崔斐
Feng Mengbo 冯梦波
Fu Xiaotong 付小桐
Guo Hongwei 郭鸿蔚
Hong Hao 洪浩
Hong Lei 洪磊
Lu Shengzhong 吕胜中
Qiu Zhijie 邱志杰
Rong Rong 荣荣
Shi Jing 史晶
Shi Jinsong 史金淞
Song Dong 宋冬
Song Dong and Yin Xiuzhen 尹秀珍和宋冬
Song Hongquan 宋红权
Tan Dun 谭盾
Taca Sui 塔可
Wang Dongling 王冬龄
Wang Tiande 王天德
Wu Jian'an 邬建安
Xie Xiaoze 谢晓泽
Yan Shanchun 严善錞
Yang Jiechang 杨诘苍
Ye Nan 叶楠
Yin Xiuzhen 尹秀珍
Zhan Wang 展望
Zhang Dun 张盾
Zhao Zhao 赵赵

Current Exhibition

Wang Gongyi

Winsor Blue

522 West 19th Street
New York, NY 10011

November 17, 2018 - January 19, 2019

Past Exhibitions

Shang Yang

New Works

522 West 19th Street
New York, NY 10011

September 15, 2018 - October 10, 2018

Fu Xiaotong


522 West 19th Street
New York, NY 10011

June 7, 2018 - August 18, 2018

Nadiah Bamadhaj


522 West 19th Street
New York, NY 10011

June 7, 2018 - August 19, 2018

Yan Shanchun

West Lake II

522 West 19th Street
New York, NY 10011

April 19, 2018 - June 2, 2018

Past and Present

522 West 19th Street
New York, NY 10011

March 15, 2018 - April 14, 2018

Wang Dongling

Poetry and Painting

522 West 19th Street
New York, NY 10011

February 25, 2018 - April 14, 2018

Roadside Picnic - The Zone

522 West 19th Street
New York, NY 10011

December 14, 2017 - January 27, 2018

Guo Hongwei

Plastic Heaven

522 West 19th Street
New York, NY 10011

November 16, 2017 - December 9, 2017
Chambers Fine Art is pleased to announce the opening on November 16 , 2017 of Guo Hongwei: Plastic Heaven. Since Things, his first exhibition at Chambers Fine Art in 2009, Guo Hongwei has continued to focus on painting although in The Great Metaphorist in 2014 he adopted a multi-media approach for a metaphorical exploration of the daily commute between his home and studio. In spite of this temporary diversion, in the last decade he has produced a remarkably varied group of paintings and water colors in which manmade objects and materials from the natural world are transformed by his innovative handling of watercolor and unusual combinations of different pigments and media in his oil paintings. Plastic Heaven follows immediately after the closing of The Pre-existent Painting at Chambers Fine Art in which he developed ideas first explored in Painting is Collecting of 2012. In these exhibitions his great love for and extensive knowledge of the way in which specimens from the natural and mineral worlds have been collected, depicted and classified since the Renaissance i provided the thematic material for the display of his remarkable virtuosity as a watercolorist. In The Pre-existent Painting he explored analogies between the growth patterns of minerals and the behavior of watercolor with waste materials from industrial painting processes that grow organically through the accumulation of dust and other materials. Simultaneously with the production of the seventy or more small watercolors and the other components of this exhibition, Guo Hongwei was working on a new series of oil paintings which focus on the anonymous, manmade subject matter which he has always favored for the challenges it presents to his painterly skills. Mixing his oil paints with a variety of different varnishes and experimenting with traditional materials such as megilp, a mixture of mastic resin and linseed oil widely used in the 19th century, Guo Hongwei is able to create ‘confined’ brushstrokes which can be manipulated separately in order to create different textures and forms. He carefully lays down each brushstroke in response to the appearance of the objects he depicts – a piece of fruit wrapped in plastic and enlarged until it is recognizable, or a blanket thrown over an unrecognizable object as in Transformed by the Setting Sun –and adds a metaphorical layer through the choice of poetic and allusive titles. Even although Guo Hongwei’s paintings have become more colorful and painterly since Things, they are painstakingly constructed and subject to numerous drastic revisions during the process of execution. In a discussion of his approach to painting, he has spoken of the way in which each brushstroke can change the entire composition, however strong the methodology of the artist. Rather than attempting to replicate the three –dimensional qualities of objects through the fusion of multiple brush-strokes, closely related in tonality, he constructs them through an accumulation of painterly inventions, each one highly distinctive. Depending on whether he uses white or a black ground, his paintings vary greatly in visual impact. There is a distinct contrast between works in which single objects are depicted in isolation on a monochromatic ground and others in which the surface of the canvas is covered with pigment although the images that result are generally enigmatic and hard to identify. At first glance the brilliantly colored The Gate appears to be an eccentric abstraction although the artist has confirmed that the imagery is based on a plastic walker used by Guo’s young son while learning to walk. In contrast the Chinese characters in Plastic Heaven are based on a photographic image that caught his attention although they are deprived of definite meaning during the process of painterly transformation into a taught composition bristling with energy. Opposed to the notion of painting in series, Guo seeks the perfect match between of thematic content, whatever its source, and the multitude of brushstrokes, each one unique and carefully considered as it relates to the whole. This approach leads to the remarkable diversity of the new body of work.

Guo Hongwei & Judy Blum-Reddy

ACAW Thinking Projects Presents Guo Hongwei: The Pre-Existent Painting

522 West 19th Street
New York, NY 10011

October 21, 2017 - November 12, 2017