Of Lunging Dragons and Zen Silence: The Story of the Chinese Brush
On view from 28 April to 12 May 2026, artcommune gallery is pleased to present ‘Of Lunging Dragons and Zen Silence: The Story of the Chinese Brush’, an exhibition featuring over 20 works by ten artists: Chen Wen Hsi, Cheong Soo Pieng, Chua Ek Kay, Chuan Keng Boon, Henri Chen KeZhan, Lim Tze Peng, Tan Choh Tee, Wong Keen, Zhang Shou Shi, and Zhong Tian Duo. Anchored in the spirit of Bimo, the exhibition is categorised into three sections: the Shanghai Traditional School, its adaptations in Singapore, and contemporary explorations across mediums.
Through works by pioneer and modern artists, the exhibition foregrounds the Chinese brush as a dynamic force—capable of embodying both the charged momentum of lunging force and the contemplative power of stillness.
“Within the literati tradition, artists came to recognise the inexhaustible expressive potential of the brushstroke, and constructed an aesthetic framework grounded in this understanding. At its core lies the concept of bimo (笔墨), referring not simply to “brush and ink,” but to the totality of expressive means embodied in their use.” — Ho Sou Ping, artcommune gallery Founder
On view from 28 April to 12 May 2026, artcommune gallery is pleased to present ‘Of Lunging Dragons and Zen Silence: The Story of the Chinese Brush’, an exhibition featuring over 20 works by ten artists: Chen Wen Hsi, Cheong Soo Pieng, Chua Ek Kay, Chuan Keng Boon, Henri Chen KeZhan, Lim Tze Peng, Tan Choh Tee, Wong Keen, Zhang Shou Shi, and Zhong Tian Duo. Anchored in the spirit of Bimo, the exhibition is categorised into three sections: the Shanghai Traditional School, its adaptations in Singapore, and contemporary explorations across mediums.
Through works by pioneer and modern artists, the exhibition foregrounds the Chinese brush as a dynamic force—capable of embodying both the charged momentum of lunging force and the contemplative power of stillness.
“Within the literati tradition, artists came to recognise the inexhaustible expressive potential of the brushstroke, and constructed an aesthetic framework grounded in this understanding. At its core lies the concept of bimo (笔墨), referring not simply to “brush and ink,” but to the totality of expressive means embodied in their use.” — Ho Sou Ping, artcommune gallery Founder
