NEW YORK, NY.- Klein Sun Gallery announces “The Other Shore,” a solo exhibition of large-scale paintings by Sichuan-based artist Zhong Biao, on view from February 18 through March 19, 2016.

Zhong Biao is a prominent contemporary painter known internationally for his hyper realistic interpretations of modern life. Maintaining a distance from the parameters of classical portraiture and composition, Zhong’s eye on the world seems a cynical one – his depictions of chaos and destruction are all consuming – yet symbols of purity prevail, proving the symbiotic relationships of opposites in life.

In “The Other Shore,” Zhong presents new paintings that focus keenly on the co-existence of diverse cultures, whether with respect to geography or in ideology. Based on the Buddhist concept of pāramitā, in which pure virtues are nurtured with the intent of attaining enlightenment, the half-abstract paintings constantly strive to understand the other shore – that is, the other side of the story. References to terrorist attacks, the media and natural disasters comingle with figures of people expressing puzzlement, sadness, or wonder at the world, eyes looking upwards as their bodies literally take to the skies. As Chinese contemporary art critic Paul Manfredi wrote in an essay for the exhibition: “The blend of figural and abstract is broadly emblematic of Zhong's work, both as a painter and a thinker. His goal is to use painting to challenge the limits of space and time which frame our experience.”

Zhong Biao was born in 1968 in Chongqing, China, and graduated from the department of oil painting at the Central Academy of Fine Art, Beijing, in 1991. Solo museum shows include “Zhong Biao: Blown Over,” Tivat Naval Heritage Collection Museum, Tivat, Montenegro (2014); “Tailoring Clouds,” Suzhou Art Museum, Jiangsu, China (2013); “The Universe of Unreality – Zhong Biao’s Visions,” Chiesa Santa Maria Della Visitazione, Venice, Italy (2013); “The Tendency of Events – Zhong Biao,” Yuz Art Museum, Jakarta, Indonesia (2009); and “The Fable of Life,” Museum of Sichuan Fine Arts Institute, Chongqing, China (1996). Group museum shows include “The Exhibition of Annual of Contemporary Art of China 2014,” Beijing Minsheng Art Museum, Beijing, China (2015); “1199 People: Collection from Long Museum,” Long Museum, Shanghai, China (2014-2015); “Hot Pot: A Taste of Chinese Contemporary Art,” Brattleboro Museum & Art Center, Brattleboro, VT (2013); “East/West: Visually Speaking,” Hillard University Art Museum, University of Louisiana, Lafayette, LA and Museum of Contemporary Art, Jacksonsville, FL (2010); “China Welcomes You,” Kulturspeicher Oldenburg, Oldenburg, Germany (2010); “Embrace!” Denver Art Museum, Denver, CO (2009); “Beijing – Havana: New Contemporary Chinese Art Revolution,” Cuba Museo Nacional de Bellas Artes, Havana, Cuba (2009); “2008 Collection Exhibition of Gwangju Museum of Art,” Gwangju Museum of Art, Gwangju, South Korea (2009); “55 Days in Valencia,” Instituto Valencia d'Art Moderno, Valencia, Spain (2008); “Contemporary Cultural Venation - China Version,” Today Art Museum, Beijing, China (2007); “Oriental Imagination,” National Art Museum of China, Beijing, China (2006); “Above and Below the River - Oil Paintings of the New Period in China,” National Art Museum of China, Beijing, China (2005) and “Image of Image,” Shenzhen Art Museum, Shenzhen, China (2003).

The exhibition is accompanied by an academic essay by Paul Manfredi.