Having grown up in the Henan province of China, Jing Qin embeds subtle signifiers of cultural collision in her figurative paintings—here a folding screen, there a tiger figurine. Elements of pattern, landscape, and foliage seem to pay homage to Qin’s childhood.
Symbols of Qin’s identity as a Tennessean exist here too—there are symbols of the southern United States, such as the Flannery O’Connor novel strewn nearby an array of busts painted in varied levels of abstraction.
from the accompanying exhibition text
Jing Qin: Soft Kernel closed this past Friday at Tinney Contemporary in Nashville, Tennessee.
