Twenty Years of documenting China.
A Life in Change and Paint.
A country going through monumental change - everyone who lived through those years was part of this incredible, once in a lifetime, transformation.
Chris was there, living it alongside everyone else. He wrote for The Guardian and The Art Newspaper and painted what he saw, with a journalist’s eye and an artist’s hand.
"Arriving in Shanghai, I had exactly 100 yuan and a portfolio of paintings."CP Gill also known by his Chinese name “Li Yunfei” arrived in Beijing in 1992 to study Mandarin and lived and worked in China for over twenty years. Later that year he opened his first studio in the artists’ village of the Old Summer Palace, the centre of all the emerging Chinese artists at that time.
Chris moved to Shanghai in 1997, a fast-growing city and over time Gill created a visual diary of the changing society in China, documenting and interpreting the reform process in his own style, his journalism and his painting fed one another directly. He actively took part in creating the local Shanghai art scene with being one of the rare foreign artists occupying studios at the 696 Weihai road and the M50 art communities. In 2007 he became the first living foreign artist to hold a solo exhibition at the Shanghai Art Museum titled CITY of GOLD!
CP Gill’s work has a strong sense of linking myth and reality. Across mixed media, oil, drawings, collage, and found materials he created a personal visual diary of that era, capturing the collision of cultures, ideologies, and identities unfolding around him daily.
Then, in 2010, the diagnosis: multiple sclerosis. Of everything it could have taken, it came for his sight.
"I am a painter who always had one luxury of perfect eyes my whole life, so this sudden attack on my life was a sharp and nasty drop into another place where I was lost, alone and blind. There is no real answer to what you do in this situation except panic. So, I panicked."For most of his life, a CP Gill meant an original - a canvas in his workspace, on a museum wall, a gallery opening or a collector’s treasure. This is now changing.
For the first time, selected works are available as fine art high-quality Giclée prints: the same monumental subjects, the same restless eye, but now in a new and accessible format. Each print is meticulously produced to ensure the closest representation to the original artwork.
The Prints
Ghosts of the past series - prints from £28
The collection feature both open edition and limited-edition fine art prints of iconic artwork from CP Gill archives. Open editions start at £28 - Bold, colourful, captivating.
Popular examples
Paper
- Hahnemüle Photorag - 308gsm premium fine art paper
- Uncoated matte finish
- Minimal texture with a chalky smooth cotton feel
- From sustainable forestry
- Vibrant display of colors
Giclee printing
- Archival quality
- Premium ink & paper
- Vibrant colors
- Longevity - Archival life 80 years
Artist’s Description of the original artwork
Title: Anti-Superstition Poster
Acrylic on canvas / Size 297×420mm / Year 2006
This is another poster in the collection featuring the fake Futuro Political party. It is a paradox that predicting the future is not allowed in China, but almost every Chinese person I knew (including government officials) where extremely superstitious and went to fortune tellers and the like.
In storage of the Yard Gallery.
"It is a paradox that predicting the future is not allowed in China, but almost everyone I knew including government officials went to fortune tellers."
Paper
- Hahnemüle Photorag - 308gsm premium fine art paper
- Uncoated matte finish
- Minimal texture with a chalky smooth cotton feel
- From sustainable forestry
- Vibrant display of colors
Giclee printing
- Archival quality
- Premium ink & paper
- Vibrant colors
- Longevity - Archival life 80 years
Artist’s Description of the original artwork
Title: Urban Mini Painting 4
Acrylic on canvas / Size 420x297mm / Year 2005
This painting is also called Hotel Shanghai and is larger than the other painting in this series.
I wanted to capture the atmosphere of the city; it was during the humid period of ‘plum rain’ about which I also made some videos. Trying to capture the feeling of that time and place with those distinctive raincoats most people used to wear.
It was made into a large size lino-cut in North Korea in late 2000s. And was exhibited at the StageBack Gallery in Shanghai.
"Trying to capture the feeling of that time and place - those distinctive raincoats most people used to wear."
Paper
- Hahnemüle Photorag - 308gsm premium fine art paper
- Uncoated matte finish
- Minimal texture with a chalky smooth cotton feel
- From sustainable forestry
- Vibrant display of colors
Giclee printing
- Archival quality
- Premium ink & paper
- Vibrant colors
- Longevity - Archival life 80 years
Artist’s Description of the original artwork
Title: Self-portrait
Oil on canvas / Size 120×150cm / Year 2009
This is kind of a self-portrait. I think it was once called ‘A father’s love for his daughter’ and at another time it was referred to as ‘Futuristic Painter’, so it has had various names.
All the little white dots in the character are about a kind of pain. I was trying to express the feeling of neuralgic pain combined with my mental state and place myself in the environment I felt I was in. Especially after losing my eyesight and all the blurs and shapes that was taking place. I was trying to represent my own reality, so that is why I now just call it Self-portrait. I turned out I have MS, the ‘disease with a thousand faces.’
"All the little white dots in the character are about a kind of pain."
Gill returned to the UK in 2014 as his eyesight deteriorated further. The largest oils were too big to bring - they're stored in a warehouse in Shanghai.
He'd spent two decades recording a country that never stopped changing. Now the change had to be his own - a new way of seeing, a new way of working, if he was going to carry on. And he did: back in the UK, his sight already failing, he began the Bitcoin series, that same questioning eye swung from a country in flux to money itself, dissolving into code.
A Kind of Prophesy
The Bitcoin Series
"First imagined in 2014 when electronic currencies were just beginning to challenge traditional cash, it envisions a future when hard cash fades into memory. I collected coins from around the world and transformed them into paintings as a kind of prophesy. These coins have served us well, passing through countless hands. I hope the currencies of the future will do the same."
Collectors and galleries - explore the original works on paper and the Bitcoin series →
The World Mind
‘This is a difficult painting to explain, it contains all the elements of digitalisation, oil, commerce, nationalism, etc, in a way being controlled by a single entity. At the time, living in China, it seems obvious.
“Perhaps I should have called this painting AI”.’
Original: oil on canvas, 200×250cm, 2008/09 - in storage in Shanghai. Available as a limited edition Giclée print, edition of 8 (66×80cm) & 20 (40×50cm).
“In China, he has his own art; in Britain, he represents a part of Chinese art”
CP Gill at his studio at 696 Weihai road, Shanghai
Solo exhibition, Shanghai Art Museum · ShanghART Gallery, Shanghai · Duolun Museum of Modern Art · Red Gate Gallery, Beijing · StageBACK Gallery, Shanghai · Wu Space, Shanghai · Wrote for The Guardian and The Art Newspaper · Author, The Dripping Rooms of Shanghai
Currently showing:
The Space Between, Neweira Gallery, Westerham, UK
Until 26 July
Own a piece of it
Prints ship direct to the UK, Europe and the USA. Anywhere else, drop us a line. In collaboration with Nordic Soul Interiors.