Mediha Ting 定光琴
Antevasin Series
Border Line

Border Line

Antevasin Series by Mediha Ting MEA022 Acrylic and mixed media Total 198 cm x 354 cm in 3 panels 2011 (SOLD)

The Antevasin series consists of two large-scale paintings – ‘Vanishing Border’ and ‘Border Line’ – that together balance abstraction with figuration and combine accidental details with control, in order to create an overpower sense of the sublime.  The series investigates oppositional elements by juxtaposing consumerism with spirituality, earthly attachment with enlightenment and pop culture with tradition and multiculturalism.  Images from different layers verge between the conscious and the sub-conscious, and serve to both construct and deconstruct the perception of our inherited cultural ideology.  These multi-layered paintings are saturated with references and intriguing details, which combine to create an overall aesthetic of fragmentation.  By encompassing political elements, current affairs, pop culture, and religion, these paintings create a strong vision, capturing the everyday – from the mundane, to the major historical moment.

Over the years Ting has developed a technique that allows different images, marks and materials to intervene, and fragmentation and distortion to occur, while all the white ensuring that every layer remains visible to the viewer.  Chance and accident play a key role in her works, as she toys with the unconscious and encourages seemingly unrelated images from newspapers, and translates them into drawings before transferring them onto the canvas.  As such, familiar fairy tale characters and super heroes can be seen to act out familiar war scenes from current and historical moments.  Over 100 figures lie dormant in each painting, including a man from Vietnam War being executed with a gun to his head at point blank range.  While the works are highly conceptual, they also yield strong emotion.

In each painting, a layer of Chinese writing written with Chinese ink, has been super imposed onto the canvas, distorted by excessive dripping.  The chosen writings have particular meaning to the artist as they are taken from articles written by her grandfather about different ways to live, and the end of world.  The bold and intense fluorescent colours serve as an initial distraction, luring the viewers in, but on closer inspection, a darker consciousness can be seen to lie beneath, between the 30 layers of transparent overlap. A trove of images and hidden meanings- unique to each viewer – waits to be unearthed.

Mediha Ting 定光琴 
Born in Levuern, BELGIUM in 1975


Mediha TING grew up in Hong Kong and was educated in the United States and in England. She comes from an artistic background and studied Fine Arts to postgraduate level. In 1995 while she was studying Fine Arts at California College of Art, CCA, she received Honourable mention in the All College Award (An Open competition for all Arts colleges/universities in the US). She graduated from (Byam Shaw) Central Saint Martins, University of the Arts London in 2000. She later earned a Master Degree in Art Policy and Management at Birkbeck College in London. She decided to focus fully on her art career and leave investment banking industry. She returned to live and work in Hong Kong in 2013. Her work has been described by one reviewer as embodying a powerful feminine spiritual energy.

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 Contemporary Art Auction at Centre for Chinese Contemporary Art (CFCCA) in Manchester, Asian Art in London and ScopeBasel Art Fair in Switzerland.


Mediha was brought up in a Taiwanese-Chinese-Muslim hosehold. This diverse upbringing along with her overseas experience have allowed her to investigate perceptions of cultural identity, relationships between the inner world and the urban built environment and, more importantly, the state of consciousness and the subconscious.                                                                                           

 ~    by Jefferson Mendoza   (                                                                   

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