Cui Jie applies various layers of images – some realistic, some imaginary – on her canvases, exploring multiple perspectives of various locations simultaneously. Each layer is meticulously executed to represent the transformation of China’s urbanscape. Painted with calculated and deadpan brushwork combined with a warm and affective palette, Cui’s landscapes and interiors make comparative studies of cities as distinctive models or laboratories of China’s open-and-reform policies. This is depicted as a personal history informed by the aesthetic madness in one time and place, ranging from the architectural confusion of Bauhaus, to Chinese propaganda, and to Soviet communist aesthetics. In essence, Cui Jie’s painting is a time capsule that re-imagines the past and the present.
Recent solo exhibitions include: Cui Jie: From Pavilion to Space Station, Centre for Chinese Contemporary Art, Manchester (2019-20); The Peak Tower, Pilar Corrias, London (2019); To Make a Good Chair, Antenna Space, Shanghai (2019); The Enormous Space, OCAT Contemporary Art Terminal, Shenzhen (2018); Latter, Former, mother’s tankstation, Dublin (2016); and Cui Jie, START Gallery, Jaffa (2015). Her work has been included in recent group shows at Para Site, Hong Kong (2019); Guangdong Time Museum, Guangdong (2018); MoMa PS1, New York (2017); Ullens Center for Contemporary Art, Beijing (2017); Metro Pictures, New York (2017); Cass Sculpture Foundation, Sussex (2016); K11, Hong Kong and Shanghai (2016); Ullens Center for Contemporary Art, Beijing (2015); Tampa Museum of Art, Florida (2014); Museum of Fine Arts, St. Petersburg (2014); Oklahoma City Museum of Art (2014); Tianhong Mei Heyuan Arts Center, Hangzhou (2013); and Minsheng Art Museum, Shanghai (2012).