From preparation to presentation
Tracing the journey of creation through practice, material exploration, and the art of presentation.
selection of paper
Paper is an essential element in Shaopeng’s artistic practice, as its texture, absorbency, and response to ink shape the expression of the work. She explores different types of xuan paper, observing how variations in fibre, thickness, and processing influence the movement and tonal qualities of ink.
From shengxuan (raw xuan paper), which allows for greater ink diffusion and spontaneous tonal variations, to shuxuan (processed xuan paper), which offers more control and sharper lines, each surface creates a distinct relationship between brush, ink, and paper. Through these material explorations, paper becomes an active participant in the dialogue between ink, gesture, and expression.
calligraphy studies
Calligraphy lies at the heart of Shaopeng’s artistic practice, with her ongoing studies spanning both Arabic and Chinese calligraphic traditions.
She is currently studying Sini, the distinctive Chinese tradition of Arabic calligraphy, under the guidance of Haji Noor Deen, while also pursuing Diwani and having previously studied Kufic with Uzbek master calligrapher. Alongside her Arabic calligraphy practice, she continues to study the classical scripts of Chinese calligraphy, including kaishu (regular script), xingshu (running script), and lishu (clerical Script).
Written with the qalam (reed pen) and the soft brush respectively, Arabic and Chinese calligraphy each possess a unique visual language. Through their continued study, Shaopeng explores new dialogues between East Asian ink traditions and Islamic calligraphy.
creative process
Each artwork begins with a process of research, reflection, and experimentation. Shaopeng explores the connections between text, image, and material, translating ideas from cultural traditions, written language, and personal encounters into visual compositions. From the selection of verses and symbols to the development of imagery, composition, and technique, each work evolves through a dialogue between intention and discovery.
mounting & framing
Shaopeng is engaged in an ongoing study of zhuangbiao, the traditional Chinese art of mounting calligraphy and ink paintings. She incorporates these principles into her own practice, recognising mounting not simply as a means of preservation, but as an extension of the artwork itself.
The process is meticulous and time-intensive, involving the careful humidification of the artwork before it is mounted onto backing paper and finished with silk brocade or other mounting materials. Beyond its technical function, mounting shapes the relationship between the artwork, its surrounding space, and the viewer.
While rooted in traditional Chinese mounting practices, Shaopeng is also exploring contemporary modes of presentation, seeking ways to honour the aesthetics and philosophy of zhuangbiao while adapting them for modern exhibition contexts.
Read The Art of Zhuangbiao to learn more about this traditional craft and its role in the presentation of Chinese calligraphy and ink painting.
“The heart with the Beloved, the hand at work.”
- Attributed to Baha-ud-Din Naqshband (1318-1389)