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"The simpler the gesture, the deeper the thought" is a formula that could be applied to Bai Ming's artistic practice, particularly to his sinity. His works carries within it the evocative power and the millenary tradition of Chinese scholars.
The artist in fact claims his origins and considers that his work of reinterpretation is rooted in the artistic, intellectual and philosophical history of his country.
This simplicity towards which his works tend is linked to the blandness that can be found in all aspects of Chinese culture. Denigrated to the West, this flavour is essential, almost ideal, in the Far East. The underlying virtuosity, but also the years of study and practice required to achieve it, are erased to give way to a visual sobriety and ease of execution that is all Chinese.
Let us recall that Bai Ming is a virtuoso ceramist with an extraordinary know-how.
From a practical, theoretical and historical point of view, he masters the entire process of making porcelain, from the choice of raw materials to firing, while in the factories each stage is entrusted to a specialist.
However, he is aware that a technical aesthetic is not enough for an artistic process and aims for "a correspondence between hand and heart".
He seeks to reach this creative state, on the borderline of meditation, in which "he forgets things and forgets himself", in line with the quest for unity between man and nature.
He is that scholar with a tangerine competition, at the height of his skills, who takes a path at the foot of the mountain to reach a rustic hut hidden among the trees, near a river.
It is in this hut that he will meditate on the meaning of things and will produce works traversed by the breath of creation.
Bai Ming is thus the heir and continuator of a long tradition, both moral and technical, which he strives to explore and renew with the ambition to accompany him ever furthe
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