1987 Born in Xigaze, Tibet

2011 Graduated from the Fine Arts Department of the Art College of Tibet University with a bachelor’s degree

2015 Graduated from the Fine Arts Department of the Art College of Tibet University with a master’s degree

Currently works and lives in Xigaze, Tibet

SOLO EXHIBITION

Trinley Dechen Solo Exhibition, Xigaze Library, Xigaze, China

Highland Sleepwalking - Double Solo Exhibition, Su Shanghai Community Art Museum, Shanghai, China

Phase - Trinley Dechen Solo Exhibition, Yak Museum of Tibet, Lhasa, China

GROUP EXHIBITION

2020

The Inscription of Stones and Clouds - The Second May Fourth Art Seasons, Foundation Art Museum, Suzhou, China

2019 

Snowy Regions - Nomination Exhibition of Young and Middle-aged Tibetan Oil Painters, Tibet Natural Science Museum, Lhasa, China

2018

“Perceive China · Travel in Italy” - Colorful Chinese Mini Art Exhibition, Venice, Italy

Green Mountains and Green Waters - Beautiful Tibet Oil Painting Landscape Exhibition, Mass Art Museum, Lhasa, China

2017

The Sixth Advanced Seminar of Young Western Minority Artists Exhibition, Beijing 81 Art Museum, Beijing, China

Trinley Dechen and I have followed each other on Weibo for some time. Recently I have seen a set of his new works on his public account.

What excited me was his strong personal style. It obviously does not belong to the anxiety nowadays, the anxious emotions out the scope of belief, it is only a unique and confident existence. Its way of expression has not yet clarified itself to any specific group. It reflects the alternative reflection on how to localize Tibetan contemporary art, that is, to get rid of the influence of foreign domains in the learning process, including the contemporary expression of the global self-positioning nowadays. It must be acknowledged that his recent series of sharp abstract geometric styles with straight lines and sharp lines already possess considerable impact and advanced visual experience, posing not only a new round of challenges to himself, but also a direct and indirect challenge to tradition or the present, narrative negation in direct and indirect suggestion.

Don’t talk about history and gods. It was originally ordinary people, local villages and small houses. Thousands of years have passed when the slight changes in form and color caused by personal feelings. The analysis of geometric shapes also reminded me of the rainbow-like “help pads” on the waistlines of Tibetan women. Speaking of Xigaze, where Triley Deqing lives and works, is originally treasure of Tibetan Buddhist art that he worships, Tashilhunpo, Baiju, Shalu, Sakya and other important religious temples. In addition to his clearly identifiable personal artistic language, Trinley Dechen has grown up imperceptibly in this world-class cultural background, as a new generation of local young artists in the snow-covered plateau. The above is still the most important and inseparable part of his artistic value. 

“The art having a father and a mother is vital and immortal.” -Pei Zhuangxin (Artist)