Works by Mediha Ru Ching Ting

Works by

M ed iha Ru Ching Tin g

定光琴作品集

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F o r e w o r d 前 言 Upon looking at the paintings of Mediha Ting, I am instantly reminded of the artist herself. Beneath her calm demeanour, Mediha contains positive energy and a strong, unwavering conviction. She derives such strengths from the support of her family, her passion for art, and her religious faith. All of these forces continually empower her to deal with the pressures and anxieties that accompany living in different cultural and sociopolitical environments. She has successfully channelled these elements into her works, which fearlessly express her emotions. Whatever the subject matter or creative style, her works never fail to evoke a powerful sense of thoughtful, spirited energy. This is evident in her series “Ray of Light” showcased at the 2017 Art Next Expo when Mediha and I first worked together. While exploring the theme of identity, Mediha conveyed a strong sense of hope in her works, which were widely appreciated by visitors to the event.

In recent years, Mediha has embarked on a philosophical and spiritual artistic journey — in response, her style has become more abstract. At the “+VE/-VE Exhibition” held by the Art Next Expo this summer, Mediha dealt with the theme of self-reflection in her work “DAWN 2020”. While depicting the beautiful scenery of Hong Kong at night with vibrant colours, the painting contains an underlying tone of darkness that symbolizes Hong Kong’s hardships during the COVID-19 outbreak. Mediha revealed to me that the work was created during the first stages of social distancing and quarantine in Hong Kong, which coincided with Ramadan. She has made use of this period of isolation to deeply examine the conflicts that pervade her life. Despite the difficult situation, Mediha has remained positive. This positivity is conveyed through the subtle ray of sunlight in the painting, which brazenly pierces through the layers of darkness.

“Rhythm Through Two Decades of Creativity: Mediha Ting 2020 Solo Arts Exhibition” is our unique opportunity to understand her creative journey. The exhibition and catalogue cover her works during different periods of her life: her time in England, when she confronted the issue of identity, personal relationships and the socio-political crisis through a series of emotionally intense, expressive works; her experimentation with stream of consciousness techniques to reflect her interest in psychology and philosophy; and more recently, her pursuit of spiritual enrichment through more abstract works. This is an impressive collection of creative works, all created during the flowering of an artistic youth. I would like to congratulate Mediha on her outstanding achievements and wish her great success with this exhibition. I believe that this is not just an opportunity to better understand the art and personhood of Mediha Ting; this is also a chance to gain power and energy from Mediha’s strong sense of positivity that she expresses in her works.

Judy Inn Director Art Next Expo

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Works by

M ed iha Ru Ching Tin g

定光琴作品集 4

Rhythm through 2 decades of Creativity: Mediha Ting 2020 Solo Arts exhibition

回眸琴韻二十載 ：定光琴 2020 個人藝術展 It is my honour to exhibit at Po Leung Kuk V54, a Grade III historic, three-storey French architectural style building.

Currently, it is one of the oldest preserved building in Happy Valley, Hong Kong. I am delighted to have my midcareer retrospect exhibition “Rhythm through 2 decades of Creativity: Mediha Ting 2020 Solo Arts exhibition” in V54 during my residence here. I have selected seven series of paintings spanning 20 years. Half of them were created in London and the other half were created in Hong Kong, parallels the V54 building in its mix of cultural influences from the East and the West.

Paintings selected for this exhibition can be grouped into to three main groups, referencing the different stages of my personal and artistic development. Although, my works are highly personal, they are also greatly universal and reflect current affairs.

My early works look hugely different from my current works; but they are both heavily layered especially the second stage of my development. For instance “The Realm of Perception series” has over 50 layers. It was highly textured, thick with intense colour and gestures like heavy metal music. My current works are more poetic, light, colourful, bright, much softer and it is almost without texture. They are parallel to my journey through life, from darkness and trying to catch the Light.

For the first stage, I have selected “Trace of Light series”, 2000 and “Nostalgia series”, 2002-2005 which are from my early 20s. They are dark, intense and emotional, exploring subject matters such as cultural identities, betweenness, conflicts, social displacement, life, love and different types of relationships. They are also referencing Internationalism and globalisation.

In the second stage, I became more interested in psychology, philosophy and cultural differences, influenced by Freud and the surrealist artists’, starting to explore the subconscious and use a more sub-conscious method to paint. Examples are “The Realm of Perception series”, 2009 and “Icon Luminous series” 2011; In “Icon Luminous series” , I further explore the cyber world, using the first generation emoji , cyber slang and Hong Kong Slangs(潮語 ) which at that time I didn’t think would develop so rapidly into today’s AI /Online world.

The third stage is still continuing - I am fascinated by collective consciousness and capturing the process of obtaining spiritual enlightenment. The “Heart Sutra series”, 2013 , “Reminiscent Hong Kong series” 2015, “Ray of Light series”, 2018, and my latest series “Shine through the darkness series” 2019-2020 are highly subconscious driven, balancing abstraction and figurative. They are also hinting and reflecting the social unrest in the world but mainly in Hong Kong.

My paintings far from trying to make any political standpoint merely reflect what is happening in our society.

Viewers will pick out different things from the paintings and draw from their own consciousness, and thus their own conclusion.

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C o n t e n t s P.10-23

Nostalgia series 游 " 目 " 民族系列

P.24-41

Trace of Light series

P.42-45

Letter that Never sent 未寄出的信系列

P.46-51

Fragmented series

P.52-61

The Realm of Perception series 知覺的領域系列

P.62-63

Icon-luminous series 光之相系列

P.69-76

Confluence series 彙集文化系列

P.77-83

Antevasin series

P.84-88

Sing series 符號系列

P.89-103

Heart Sutra series 心經系列

P.104-111

Reminiscent Hong Kong Series 不一樣的維港倒影系列

P.112-125

Ray of Light 睿光系列

P.126-129

Shine through the darkness 曙光乍現系列

P.130-137

Contemporary Chinese Ink paintings 現代水墨

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悟非悟系列

A r t i s t

I n f o r m a t i o n

定光琴 Mediha, Ting (Ms.) mediha@tingartstudio.com www.tingwork.com whataspp:+852 5619 6400

Mediha Ting 定光琴 Founder of Ting Art Studio Committee of Young Artist Development Foundation YADF Director of International Association of Chinese Traders Mediha Ting, a Taiwanese who was born in Belgium, grew up in Hong Kong and educated in the US and the UK. In 1995 while she was studying Fine Arts at California College of Art, CCA, she received an Honourable mention in the All College Award (An Open competition for all Arts colleges/universities in the US). She graduated from (Byam Shaw School of Arts) Central Saint Martins, University of the Arts London in 2000. She later earned a Masters Degree in Art Policy and Management at Birkbeck College in London.

She has had solo shows in London, America, Shanghai, Hong Kong, UK and Taiwan and her work has been exhibited in numerous selected group shows and art fairs all over the world; including Art Stage Singapore, 33Auction Singapore, Contemporary Art Auction at the Centre for Chinese Contemporary Art (CFCCA) in Manchester, Asian Art in London and ScopeBasel Art Fair in Switzerland. Her recent Chinese contemporary ink work “Golden Beam” & “Stream of Praise” from the Ray of Light series were selected and successfully auctioned off at the Ravenel Spring Auction 2018 & 2019 in Taiwan.

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Mediha Ting 定光琴 Ting Art Studio 創辦人 藝育菁英委員 國際華商協進會理事

定光琴比利時出生，香港長大的台灣 ` 維吾爾族人，於美國及英國接受藝術教育，1995 年就讀美國加州藝術 學院時，獲 得全美大學校際公開賽優異奬。2000 倫敦藝術大學藝術系畢業 ; 2003 取得倫敦大學藝術政策與 管理的碩士學位，更於英國、美國、上海、台灣及香港多次舉辦個人展覽。她的作品曾在世各地多個藝術博覽 會和群展展出包括亞洲藝術在倫敦 , 瑞士 ScopeBasel 藝術博覽會 , 新加坡 Art Stage 藝術博覽會和入選新 加坡的 33Auction 拍買會。最新現代水墨作品《一束金光》和《心靈之讚頌》入選台灣羅富台北羅芙奥 2018 及 2019 春季拍賣會。

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游 " 目 " 民族系列 N o s t a l g i a

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s e r i e s

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Puppet 木偶

112cmx38cm Ⅰ Mixed medium on canvas Ⅰ 2005

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Mixed Identities 混合身份

35.50cmx38.40cm Ⅰ Mixed medium on canvas Ⅰ 1998

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Nightscape 夜景

152cm x 137cm Ⅰ Acrylic and mixed media on canvas Ⅰ 1998

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Emotional Landscape「情」景

180cm x 151cm Ⅰ Acrylic on canvas Ⅰ 1998

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回憶的光影系列 T r a c e

o f

L i g h t

Time leaves traces of light in our memory This series of paintings focuses on exploring mixed cultural experiences and identities, using photographs and paintings. Familiar nightscapes of Hong Kong and London were used for this series which intends to bring across both a sense of familiar feelings and the feeling of nostalgia. The two cities become one at night and mix in my memories. I want to use these images to find a place in my works, which is “In between cultures”. In my paintings, I have tried to combine the paintings and photographs together both technically and conceptually, as I painted on the photo transfer and I want to bring out the mysterious and surreal qualities of the photographs in some of my paintings. I want my paintings to be in a space of exile, a space which the viewer will lose their firm placement of identity and experience a space of unstableness and experience the displacement of being in between cultures.

I think this series is related to the New Internationalism, since the communication in this world grows faster and many people travel and mix cultures world wide, I think many people can relate to and some are already exploring in that area, artists like Ana Mendieta, Hou Hanru, Sutapa Biswas, Chen Zhen, Lee Bul and so on.

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s e r i e s

Single Figure 她

21.59cm x 26.67cm Ⅰ photo transfer and Acrylic on canvas Ⅰ 2000 Ⅰ SOLD on gradulate show

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Blue 藍色舞者

21cm x 35.56cm Ⅰ photo transfer and Acrylic on canvas Ⅰ 2000

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Pink 粉紅

21cm x 27.50cm Ⅰ photo transfer and Acrylic on canva Ⅰ 2000

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(Movement) 舞動

22.50cm x 27.50cm Ⅰ photo transfer and Acrylic on canvas Ⅰ 2000

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Lone Figure 孤影

26.67cm x 29.21cm Ⅰ Acrylic on canvas Ⅰ 2000

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Dissolving Figure 消失中的舞影

20.32cm x 30.48cm Ⅰ Acrylic on canvas Ⅰ 2000

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Dance Figure Pink 粉紅舞者

22.86cm x 38.10cm Ⅰ Acrylic on canvas Ⅰ 2000

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Shifting Figures 光影之軌跡

30.48cm x 38.29cm Ⅰ Acrylic on canvas Ⅰ 2000

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Artifical Sunrise 人工日出

25.40cm x 35.56cm Ⅰ Acrylic on canvas Ⅰ 2000

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Smoky Night 煙影

27.94cm x 35.56cm Ⅰ Acrylic on canvas Ⅰ 2000

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Stirring Colours 色彩舞動

27.93cm x 31.75cm Ⅰ Acrylic on canvas Ⅰ 2000

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Flashes of Light 紅綠的影

27.94cm x 35.56cm Ⅰ Acrylic on canvas Ⅰ 2000

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Walk Through the Light 藍色通道

20.32cm x 33.02cm Ⅰ Acrylic on canvas Ⅰ 2000

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Pink Room 粉紅房間

22.86cm x 33.02cm Ⅰ Acrylic on canvas Ⅰ 2000

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Crowd 人群

30.48cm x 30.48cm Ⅰ Acrylic on canvas Ⅰ 2000

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Red London 紅色倫敦

90.17cm x 148.59cm Ⅰ Acrylic on canvas Ⅰ 2000

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Green London 綠色倫敦

90.17cm x 148.59cm Ⅰ Acrylic on canvas Ⅰ 2000

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Blue London 藍色倫敦

90.17cm x 148.59cm Ⅰ Acrylic on canvas Ⅰ 2000

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未寄出的信系列 L e t t e r

t h a t

N e v e r

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Yellow Roses 黃玫瑰

45.72cm x 45.72cm Ⅰ Roses, acrylic, resin on canvas Ⅰ 2007 Ⅰ SOLD - TIGER -PHOENIX TV

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Roses primard 玫瑰

45.72cm x 45.72cm Ⅰ Roses, acrylic, wax on canvas Ⅰ 2007 Ⅰ SOLD - TIGER -PHOENIX TV

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Roses and Mix 玫瑰及枝葉

45.72cm x 45.72cm Ⅰ Rose's leaves, ashes, pigments in resin Ⅰ 2007 Ⅰ available

Thorns 荊棘

45.72cm x 45.72cm Ⅰ Rose's stem, ashes in resin Ⅰ 2007 Ⅰ available

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意識重組系列 F r a g m e n t e d

s e r i e s

This series explores Ting’s interests in the perception

In these pictures, for the base layer, Ting used an

of cultural identity, the relationship between the

ink transfer technique to place text directly on the

inner and outer world, and states of consciousness

canvas. These writings are drawn from letters, notes,

and unconsciousness. The works focus on different

confessions, her own and other people’s darkest

aspects of duality conveyed through a process of

secrets. She then overlapped this with drawings

vigorous self-expression. Surfaces and images are

depicting key moments in the lives of her friends and

fragmented in order to enable a reconnection. Ting

family. These stories had shaped them personally

says that there is a side of her that likes to indulge in

or referred to dark, painful episodes that had deep

the act of overt confession typical of Western culture

impact. In this way, she transferred these memories

but her Chinese upbringing reminds her of an inner

onto the canvas.

impulse to shy away from revealing emotions and to hide these beneath layers of imagery and text.

The fluorescent colours were inspired by the Opening Ceremony of the 2008 Beijing Olympics. To enhance

The artist was in fact going through an emotionally

these colours, Ting used many layers of glazing and

difficult period at the time of painting this series.

to create texture, she peeled paint off other surfaces.

She tried to access her subconscious by searching

She made a giant paper stencil of ancient motifs and

for what she was emotionally suppressing or hiding.

patterns from both the East and West, contrasting

Then, insight came during a chance conversation with

bold black and white images like the ancient Chinese

the English potter Grayson Perry (Turner Prize, 2003)

vase with a Roman statue from the same era.

He told her that there are no lines or boundaries in his art. This gave her the idea to examine her own

The series seeks to combine ideas from Freud’s

work, especially where there were things she did

theories on consciousness and unconsciousness,

not want to reveal. This made her to consider the

Jung’s dream works, repressed memories and

tension between the suppressed and the expressed,

the constant battle between desire and guilt. By

a dichotomy compatible with Freud’s idea of the

using a psychological technique akin to automatic

constant fight between desire and guilt. Ting decided

writing, Ting forced herself to write down everything

to create a series in which she would let go of her

associated with a particular memory. In this way

boundaries and reveal all that was hidden. She dove

she hoped to access all of the hidden secrets of her

deep into her subconscious and let it all out, and then

subconscious, repressed self. The artist does not seek

followed her impulses to conceal it again.

to propound any set of fixed ideas so the series is ambiguous. She wishes viewers to draw on their own memories to find their own unique interpretation of her work.

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Fragmented Memories (combination of 12 canvases ) 回憶重組系列 46cm x 46cm each canvas Ⅰ Acrylic on canvas Ⅰ 2007

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Fragmented London (combination of 12 canvases) 重組倫敦系列 46cm x 46cm each canvas Ⅰ Acrylic on canvas Ⅰ 2007

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The Edge of Realities (combination of 6 canvases) 現實的邊緣系列 80cm x 80cm per canvas Ⅰ Acrylic on canvas Ⅰ 2008

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Tip of Consciousness (combination of 24 canvases) 尖端意識系列 46cm x 46cm each canvas Ⅰ Acrylic on canvas

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知覺的領域系列 The Realm of Perception series

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Acrylic and Chinese ink on canvas

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Acrylic and Chinese ink on canvas

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Acrylic and Chinese ink on canvas

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Acrylic and Chinese ink on canvas

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Acrylic and Chinese ink on canvas

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Acrylic and Chinese ink on canvas

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Acrylic and Chinese ink on canvas

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光之相系列 I c o n - l u m i n o u s

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彙集文化系列 C o n f l u e n c e

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悟非悟系列 A

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符號系列 S

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心經系列 H e a r t

S u t r a

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不一樣的維港倒影系列 不一樣的維港倒影系列 Reminiscent Hong Kong Series

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睿光系列 T r aa cy e R

oo f f L i gL h i t g s eh r ti e s s

Mediha Ting’s latest series, titled “Golden Beam” and “Stream of Praise” from the “Ray of Light series”, employs her signature techniques of layering and juxtaposition of the abstract and the figurative on the same paper. From afar, one can view the first layer on the paper: colour stains in abstract gestures.

On closer look, there are detailed intricacies on subsequent layers. Common across the series is the focus on what Ting describes as “spiritual light” – the provision of light and love to be shared by all religions. This reflects Ting’s Muslim background, combined with her Catholic education and keen interest in Buddhism at that time. Also shared amongst the works are the figures of maps from the site of the Umbrella Movement, allowing the viewers to interpret Ting’s local heritage. Flowers and nature, particularly orchids, inspire the more demure colour scheme of this series, and provide a balance to the hectic city atmosphere that is also reflected in the works. This series is a glorious reflection of Ting’s varied background and her diverse and mixed philosophy.

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Golden Orange Light 金橘之光

152cm x 128cm Ⅰ Acrylic and Chinese ink on canvas Ⅰ 2017

Roses of Light 玫瑰之光

153cm x 122cm Ⅰ Acrylic and Chinese ink on canvas Ⅰ 2017

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Gold and Copper Light 金銅之光

152cm x 129cm Ⅰ Acrylic and Chinese ink on canvas Ⅰ 2017

Ray of Blue Light 藍之光

153cm x 122cm Ⅰ Acrylic and Chinese ink on canvas Ⅰ 2017

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Ray of Blue Light 金色廻响

153cm x 122cm Ⅰ Acrylic on canvas Ⅰ 2017

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Blue Sapphire 金鑽之藍

122cm x 76cm Ⅰ Acrylic on canvas Ⅰ 2017

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Citrine Sunrise 金色旭陽

29.5cm x 37cm Ⅰ Acrylic on canvas Ⅰ 2017

Opal City 藍光之城

29.5cm x 37cm Ⅰ Acrylic on canvas Ⅰ 2017

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Halcyon Coast 橘色海岸

38cm x 39.5cm Ⅰ Acrylic and Chinese ink on canvas Ⅰ 2017

Emerald Drift 彩綠之鑽

38cm x 39.5cm Ⅰ Acrylic and Chinese ink on canvas Ⅰ 2017

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Violet Topaz 黃紫之光

33cm x 38cm Ⅰ Acrylic and Chinese ink on canvas Ⅰ 2017

Cobalt Peridot 鑲金之藍

33cm x 38cm Ⅰ Acrylic and Chinese ink on canvas Ⅰ 2017

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Golden Carpi Blue 藍之金

40.5cm x 30cm Ⅰ Acrylic on canvas Ⅰ 2017

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Meditation 冥想

110cm x 198cm Ⅰ Acrylic on canvas Ⅰ 2018

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Radiance of Joy 愉悅之光

122cm x 76cm Ⅰ Acrylic on canvas Ⅰ 2018

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曙光乍現系列 T hr i an ce e t h or of u gL hi gt hh et d sa re kr n i e es s S “Emerging Light” is Ting’s latest contemporary ink on

“曙光初現” 是“曙光乍現”系列定光琴最新的現代

paper from the “Shine through the darkness” series; it

水墨宗合媒體畫作系列 ; 使用丙烯，中國水墨，用

uses Acrylic, Chinese ink and colour spread to achieve

了ㄧ慣的創作方法 : 意象畫法 , 著重中西美學的結

a unique appearance, which balances the figurative

合加入了潛意識 , 意識 , 意景 ; 平衡具象與抽象。

and abstraction. Ting wants to create a series of works

這一系列的畫作受到定光琴祖父寫的兩篇所啟發 :

which show both western and eastern aesthetic. The

[ 談世界末日 ] 和 [ 人魔爭鬥論 ]; 以及反映近期香

essence is a very important part of this series.

港發生的社會事件。

This series of painting is inspired by two speeches

描述黑暗中的光明 , 象徵著從徹底黑暗中重生。定

that Ting’s grandfather wrote about the end of the

光琴使用伊斯蘭的幾何圖案來暗示她的文化和宗教

world and the battle between humans and Satan, as

背景 ; 描述人類與撒旦的不斷鬥爭 , 不單是外在也

well as reflecting social incidents happening in Hong Kong at the point of creation.

是內心。她相信只要有信仰可以使我們在重重黑暗

They describe the light in the darkness, symbolizing

中找到光明和平安 !

the rebirth from complete darkness. Ting uses Islamic geometric patterns to hint at her cultural and religious background, describing the constant struggle between man and Satan, not only external but also inner. She believes that as long as there is faith, we can find light and peace in the darkness!

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Reborn 重生

40cm x 100cm diptych Ⅰ Acrylic on canvas Ⅰ 2019

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Shine Through the darkness 曙光乍現

220cm x 198cm diptych Ⅰ Acrylic on canvas Ⅰ 2019

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現代水墨 T orn a e o r ao r yf C hL i ni egs eh I tn k p s aei nrt iin eg ss C t e cm p

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Beneath theReborn Lion Mountain 重生 獅子山下

triptych 40cm 420cmx x100cm 72cm diptych ink and oncolour canvas on paper Ⅰ Chinese Ⅰ Acrylic Ⅰ 2019 Ⅰ 2016

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Heart Sutra series 心經系列 / Midnight Mongkok 午夜旺角 140cm x 72cm Ⅰ Ink and colour on paper Ⅰ 2016

Ray of Light series 睿光系列 / Golden Beam 一束金光 140cm x 72cm Ⅰ Ink and colour on paper Ⅰ 2017

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Ray of Light series 睿光系列 / Stream of Praise 心靈之讚頌 140cm x 70cm Ⅰ Ink and colour on paper Ⅰ 2018

Shine Through the darkness series 曙光乍現系列 / Emerging Light 曙光初現 180cm x 97cm Ⅰ Ink and colour on paper Ⅰ 2020

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Shine Through the darkness series 曙光乍現系列 / Dawn2020 曙光再現 180cm x 97cm Ⅰ Ink and colour on paper Ⅰ 2020

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Shine Through the darkness series 曙光乍現系列 / March at Dawn 黎明時分 97cm x 128cm Ⅰ Ink and colour on paper Ⅰ 2020

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Shine Through the darkness series 曙光乍現系列 / Green Sky 綠色的天空 97cm x 128cm Ⅰ Ink and colour on paper Ⅰ 2020

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