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Dan JIN's painting cultivates two aspects of reality. On the one hand, her apparent bareness is based on a strictly calligraphic line, which shows that she knows how to paint the void, by detaching the object in its nudity. On the other hand, the grasp of the thing seen or imagined doubts the evidence, in that it is held in evocation. Thus, within the first phase, the extreme simplicity of her still lifes is essential, where the black of the graphics contrasts with the white of the support, and where the mastery of the hand does not weaken the emotional charge of the subject. On the contrary, an impression of collected silence emanates. During the second phase, the expression becomes more opaque, at least more tormented, because the material here is duller and more agitated, barely barred by a few transverse passages in the gold leaf, where the rustling of the shape does not detract from the resemblance. A resemblance that revisits the traditional Chinese landscape, but with the touch of Western modernity which creates the link with two cultures. This is a syntax that is both solid and fragile which modestly distills its little secrets.


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