Cui Jie was born in 1983 in Shanghai, China and graduated from the China Academy of Art in Hangzhou. She lives and works in Beijing.
Her works have been included in many international exhibitions, such as: My Generation: Young Chinese Artists, Tampa Museum of Arts/ Museum of Fine Arts, St. Petersburg, Russia and Oklahoma City Museum of Art, USA (2014); The First "CAFAM • Future" Exhibition: Sub-Phenomena: Report on the State of Chinese Young Art, China Central Academy of Fine Arts Museum, Beijing, China (2012); Face, Minsheng Art Museum, Shanghai, China (2012); 4th Prague Biennale, Prague, Czech Republic (2009); Poetic Realism: A Reinterpretation of Jiangnan – Contemporary Art from South China, Centro de Arte Tomás y Valiente, Madrid, Spain (2008); Notes of Conception, Iberia Centre for Contemporary Art, Beijing, China (2008). Cui lives and works in Beijing.
To date, Cui Jie is best known for her ambitious architectural paintings, characterized by a distinctly fractured, multi-perspectival and non-linear aesthetic. The various layers that Cui applies to canvas are based on real as well as imaginary images, which equally represent the surreal transformation of China’s urban landscape over the last thirty years. Pigeon’s House is thus a unique and trailblazing work – the first instance in which this promising young artist has effectively translated her accomplished painterly practice into an evocative three-dimensional form. Cui Jie’s painting work derives from her interest in absurd contemporary Chinese socio-political behaviour. She is greatly inspired by Orson Welles multifaceted perspective which is evident through her application of various metaphorical image layers, each composed of imaginary and realistic scenes on canvas. Every layer is meticulously executed exposing art-historical moments and sculptural impastos to represent the transformation of China's urban landscape over the course of the last century. Her compositions are eclectic and anachronistic, folding conflicting time periods and architectural styles together to create a confusing plateau of ambiguity and madness. For instance her works meld Bauhaus, Chinese propaganda and Soviet communist aesthetics into one world creating condensed irrational and nonsense paintings that re-imagine and coagulate the past, present and future.