Living on the Edge of Taoist Colors   

Chen Ruo Bing is a Chinese painter who works on the color concepts based on the theory which can be traced back to Aristotle and Albers, and meanwhile he lets his consciousness to dig into his emotional Chinese blood. He was born and raised up in the legendary Hangzhou area, one time the capital of 12th century China, and he had practiced the traditional Chinese scroll painting techniques including tons of rough paper writing of Chinese calligraphy before he went to Germany for a Kantian philosophical inspiration. His life in Germany has made Chen Ruo Bing one of the new Chinese artists whose attitude to the theory and practice of color has been making a meaningful change in the history of contemporary Chinese art.  
Chen Ruo Bing is mature enough to handle the interaction of this syntax and is becoming masterful with his compositions and colors. The Subtlety and elegance of color play a major part of subconsciousness for the immediate viewing of people in front of his painting. “Color is stronger than language. It is subliminal communication.” Chen Ruo Bing quoted Louise Bourgeois in a catalogue of his work published by the onemoon gallery in Beijing. His subacute, gallivanting brushstrokes always match the subcritical color tunes in painting. With a great sense of scale, proportion and equilibrium, Chen orchestrated his canvases in a wise, wit and vigorous way. The iridescent areas challenge the gold; and the red is always hardly read as a positive or negative role. Indeed, the stronger is the color. Stretched out with saltires, crosses, squares and stripes, Chen Ruo Bing’s color is eloquent with so many expressions. - By NI JUN (a painter who lives and works in Beijing, Tsingtao and New York)


Art Review, New York Times
It’s Asian Work, but Abandon the Stereotypes Before Entering the Booths

Given the fair’s hectic ambience, the quiet abstract paintings by Chen Ruo Bing at Taquchi provide a contemplative repite. Working on medium-size canvases, he creates simple compositions: grids of gray boxes centered on monolithic forms and, in one case, a square delineated by four purple brush stokes on a yellow field. The main interest lies in the rich colors stained into the canvas, which glow with Rothko-exqueincandescence. The work is a fine blend of formalism, hedonism, and transcendentalism. - By KEN JOHNSON