1990 Born in Guangzhou, Guangdong Province

2013 Graduated from the mural Department of Guangzhou Academy of fine arts with a bachelor's degree

2015 Graduated from the Department of decorative arts of Guangzhou Academy of fine arts with a master's degree

Currently studies at Communication Department of Shinawatra University for a Ph.D. degree, works and lives in Guangzhou

SOLO EXHIBITION

2021

A Moment of Paradise - Works Exhibition of Che Junbiao, New Guangzhou Gallery, Guangzhou, China

Re-Construction - Che Junbiao Solo Exhibition, Hongmei Cultural and Creative Park, Shenyang, China

2019

Business and Behavior, 2522 Housestudio, Guangzhou, China

2017

Slow Swing - Che Junbiao's Personal Works Exhibition, Guangzhou, China

GROUP EXHIBITION

2022

The 2nd Guangdong Youth Lacquer Painting Exhibition, Jiangmen Art Museum, Jiangmen, China

2021

The 4th Tsinghua University Qiao Shiguang Lacquer Painting Art Innovation Award, Shenzhen Longhua Qiao Shiguang Lacquer Painting Research Institute, Shenzhen, China

Ice Breaking Art Plan, Hongmei Cultural and Creative Park, Shenyang, China

Lacquer language - Nomination Exhibition of Seven Contemporary Young Lacquer Artists, South China Art Museum, Guangdong, China

2020

Under the Banyan Tree - Public Installations, Guangzhou Branch of Guangzhou International Design Week, Guangzhou, China

2020 Youth 100 Launch Exhibition, Beijing, China

2017

National College Contemporary Handicraft Exhibition, Xi'an Academy of Fine Arts, Xi'an, China

The 2nd Chinese Lacquer Language Experimental Art Exhibition, Tsinghua University, Beijing, China

I hope to return to the direction of contemporary transformation of lacquer materials. Based on the completion of lacquer painting, I try to focus on the viewing angle of the audience. According to the viewing habits and feelings of the audience, I try to view the materials I use from the perspective of an ordinary audience. The vast majority of ordinary audiences are unfamiliar with lacquer, which seems to contain the vast possibilities that have been ignored by us. In the face of this strangeness, I try to give up the textbook like way of saying things. I hope to give the initiative back to the unfamiliar audience, so that they can watch and feel this unique creative material without any impurity. The contemporary transformation of materials includes production and use, and of course, it should also include viewing. This time, I chose the translucency of the paint as the focus of my creation. The introduction of glass and epoxy resin can highlight the transparency of the paint to varying degrees. For example, epoxy resin can enable me to achieve the physical separation of the paint layer, which can be visually and intuitively felt. At the same time, I can also see the color changes of the layers formed by the translucency of the materials, This kind of color change, which is both separated and overlapped, can not be completed by using traditional expression methods. At the same time, the combination of epoxy resin and cashew nut paint will show a new look like hybrid. The glass shows the fluidity of paint, which is different from materials such as oil painting, propylene and watercolor. Due to the tight molecular structure of paint, the glass surface with high density shows rich and diverse effects.

in addition, the purpose of sealing the lacquer in the epoxy resin is to restore the feeling of the general audience when they see the Millennium lacquer works in the glass cabinet of the museum with a modern expression method familiar to the audience. I hope that this impression of the lacquer can become a symbol of the material and can be visually observed. In the exhibition, lacquer, cashew nut lacquer and paint are used in different works. The three materials have played an irreplaceable symbolic role in their respective works. For example, cashew nut lacquer is used in the brown River in landscape 01. This synthetic and semi natural lacquer corresponds to the artificial natural residue. I am not a lacquer artist or painter. I am just a creator who has been used to using this material for creation. Therefore, for me, the irreplaceable nature of the material itself and its symbolic significance in specific works are far more important than discussing the advantages and disadvantages of the three.