Mimi Chen Ting Studio

Mimi Chen Ting Studio She was active in the artist communities of the Bay Area of San Francisco, CA, and Taos, NM.

Mimi Chen Ting (1946-2022), was a Chinese-American painter, printmaker, and performance artist whose high-spirited practice fused Eastern and Western aesthetics.

In June of 1986, Mimi Chen Ting wrote her thoughts on pastel in a letter: “Without sounding too sentimental, I have to s...
04/24/2026

In June of 1986, Mimi Chen Ting wrote her thoughts on pastel in a letter:

“Without sounding too sentimental, I have to say that pastel is a most romantic medium. I love the physical sensation of working with the slightly powdery sticks, pressing them into richly surfaced paper, and smudging or clarifying marks with nothing more than all my finger tips, or at the most, a piece of cloth. It is like gardening, planting seeds in the earth and waiting for the plants to grow.”

Her series of pastel works, Windows on Taos 1-6, is currently on view at the “Make Movement Visible” retrospective at BYU.

Opening tonight at !▫️Booth G13▫️Painted in 2009, this work by Mimi Chen Ting titled “Seeking Mondrian” and featured a...
04/16/2026

Opening tonight at !
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Booth G13
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Painted in 2009, this work by Mimi Chen Ting titled “Seeking Mondrian” and featured at Louis Stern Fine Arts at Dallas Art Fair, one can situate Mimi Chen Ting’s compelling dialogue with . While Mondrian pursued a rigorous visual order through grid, line, and primary color, Ting approached abstraction as an experiential and improvisational process, gesture, memory, and spatial tension. Her painting exploring the dynamic interplay of edges, chromatic relationships, and “spaces in-between,” where forms press and recede in quiet negotiation.

Like Mondrian, Ting embraced reduction and distillation; however, where his compositions seek universal harmony through structure, hers remain fluid, contingent, and deeply personal. In this work, Ting explicitly acknowledge this lineage while gently subverting it, replacing fixed geometry with a living, breathing abstraction shaped by intuition and cultural hybridity.

Ting extends Mondrian’s legacy—transforming its formal clarity into a more elastic, poetic language attuned to movement, memory, and the rhythms of lived experience.
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Mimi Chen Ting (1946-2022) “Seeking Mondrian,” 2009, acrylic on canvas, 48 x 54 in (121.9 x 137.2 cm)
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“Mimi Chen Ting: Ties Unbound” opening Mar 28 at ▫️Marking the second solo show at the gallery, this exhibition traces T...
03/12/2026

“Mimi Chen Ting: Ties Unbound” opening Mar 28 at
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Marking the second solo show at the gallery, this exhibition traces Ting’s stylistic evolution from semi-autobiographical figuration to fluently expressive abstract painting. The artist’s reflections on her experiences as an immigrant, woman, and creative spirit remained a recurring theme as her approach shifted from the early 1990s to late 2000s. Ting visualized the conflicting obligations and enmeshments of identity, duty, and longing in the form of sinuous, intertwined cords. They evoke blood vessels or bindings, weaving throughout her paintings with equal capacity to strengthen, connect, or confine.
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Happy Lunar New Year! 🎉With a biography intricately linked to her Chinese ancestry, Mimi Chen Ting was very vocal about ...
02/17/2026

Happy Lunar New Year! 🎉

With a biography intricately linked to her Chinese ancestry, Mimi Chen Ting was very vocal about her generational link.
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Born in Shanghai, China, at the end of the Second Sino-Japanese War and during the communist takeover of the mainland, Ting grew up in a compound with a shared courtyard where she played with other children and waited for the rice popper man to pass by. Attending Buddhist temples with this grandmother exposed her to rich colors, ancient wisdom, and reliquary forms, and trips with her father to see the Beijing Opera introduced her to theatrical costumes and dramatic movements. These events constituted her early influences, “without really realizing that’s what it was.”
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Her generational pride manifests itself through color and movement—the core elements of her mature art.
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This painting “Moon on the Move” is an extraordinary triptych where a cream colored moon lyrically loops its way across three panels. It is the last painting Ting made in her Taos studio.
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“Moon on the Move,” 2019, acrylic on canvas, overall: 54 x 174 in (137.2 x 441.96 cm) Collection Estate of Mimi Chen Ting
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Portrait of Mimi Chen Ting, Taos, NM, 2019. Photo: Paul O’Connor
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Final week! Mimi Chen Ting in “Painting as Method” at ▫️Exhibition ends Jun 21!▫️https://www.alisan.com.hk/en/home▫️In ...
06/17/2025

Final week! Mimi Chen Ting in “Painting as Method” at
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Exhibition ends Jun 21!
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https://www.alisan.com.hk/en/home
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In titling a series of five paintings “Smoke Signal,” Ting channels an ancient form of visual communication that uses smoke from a fire to transmit message over long distances. With documented use in China and Native American tribes, the method involved created controlled smoke plumes to convey specific meanings. Paintings in this series feature pillows of undulating forms that float and twist against a neutral background and aim to convey the contemplation on subtlety in shape.
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1_Mimi Chen Ting, “Smoke Signal 5,” 2015, acrylic on canvas, 26 x 25 in
2_Installation view: (L to R: “Smoke Signal 5,” 2015, “Winter 3,” 2012, “Winter 4,” 2012
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On view at : “Suddenly September” (1990)▫️Beginning what she called her “second migratory arc” (the first being her arr...
05/10/2025

On view at : “Suddenly September” (1990)
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Beginning what she called her “second migratory arc” (the first being her arrival in the Bay Area from Hong Kong), in 1988, Ting impulsively purchase a one-room house in El Prado in Taos. Tucked tightly into the base of the Sangre de Cristo Mountains with view of Pueblo Peak, Ting set up a small studio. “I wasn’t there for a career move,” she told in August 2001, “I thought it was a place that I could get away from life.”

“Suddenly September” (1990) is a dynamic landscape inspired by a view out her studio window. Characterized by dramatic spiraling clouds, earthy colors, and a visa that literally expands beyond a frame within a frame, Ting offers an immersive experience that celebrates movement, spontaneity, and the ephemeral beauty of the natural world.
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“Suddenly September,” 1990, acrylic on canvas, 36 x 48 in (91.4 x 121.9 cm)
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: 6 Shows Celebrating Asian American Artists This AAPI Heritage Month▫️Mimi Chen Ting at ▫️The trio of Asian American p...
05/06/2025

: 6 Shows Celebrating Asian American Artists This AAPI Heritage Month
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Mimi Chen Ting at
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The trio of Asian American painters featured in Alisan Fine Arts’s new show spans generations and engages with a range of art historical traditions, such as Surrealism, hard-edge abstraction, and Chinese album painting. The eldest of the group, the late Mimi Chen Ting, distilled the organic shapes of the landscape of New Mexico—where she lived part-time in the latter half of her life—into colorful, minimalist contours. The Chinese Canadian artist Yifan Jiang’s more conceptual practice encompasses animation, sculpture, and performance, but it is her paintings of mystical, dreamlike landscapes that take the spotlight here. Kelly Wang’s practice, meanwhile, is grounded in materiality; she uses Chinese ink painting and layers of minerals and ground metals to create diaphanous, monochrome abstractions. Despite their varied approaches, all three artists bring lyricism and fluidity to their work.
—@ Olivia Horn
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Terrific to our friend Mimi Chen Ting (1946-2022) share space with these two amazing artists: + in “Painting As Method...
05/02/2025

Terrific to our friend Mimi Chen Ting (1946-2022) share space with these two amazing artists: + in “Painting As Method” at wonderfully organized and curated by
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These three Asian American artist engage in drastically different practices, but each of them employs a novel approach to painting… see it now!
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Image_2: Portrait of Mimi Chen Ting, Taos, NM, 2017. Photo
Image_3: Mimi Chen Ting “Smoke Signal 5,” 2015, 26 x 25 in (on view at Alisan)
Image_4: Kelly Wang with her work at Alisan Fine Arts, 2025. Photo Jason Andrew
Image_5: Yifan Jiang with her work at Alisan Fine Arts, 2025. Photo Jason Andrew
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Now open: Mimi Chen Ting in “Painting As Method” at ▫️Terrific to share space with these two amazing contemporary artist...
05/02/2025

Now open: Mimi Chen Ting in “Painting As Method” at
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Terrific to share space with these two amazing contemporary artists: +
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Three Asian American artist engage in drastically different practices, but each of them employs a novel approach to painting… see it now! Organized by
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Image_1: Portrait of Mimi Chen Ting, Taos, NM, 2017. Photo
Image_2: Mimi Chen Ting “Smoke Signal 5,” 2015, 26 x 25 in (on view at Alisan)
Image_2: Kelly Wang with her work at Alisan Fine Arts, 2025. Photo Jason Andrew
Image_3: Yifan Jiang with her work at Alisan Fine Arts, 2025. Photo Jason Andrew
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The painting illustrated here in this post was the last painting completed by Mimi Chen Ting before succumbing to cancer...
03/31/2025

The painting illustrated here in this post was the last painting completed by Mimi Chen Ting before succumbing to cancer on March 6, 2022. She was 75. The painting is aptly titled “Last Songs.”

“In the end, line and color and the space around them, lent more than enough dynamism to tell her stories,” wrote Holly Shen, “And it is in this simplicity Ting invites a transcendental empathy and a promise to the viewer of the infinite possibilities that life affords.”
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“Last Songs,” 2022, acrylic on canvas (triptych) 52 1/2 x 172 1/2 in. Collection of the Estate of Mimi Chen Ting
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Continuing our daily posts celebrating
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Post 30 of 31
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Diagnosed with cancer, Ting continued to demand time for herself in the studio. Unable to travel great distances, Ting r...
03/31/2025

Diagnosed with cancer, Ting continued to demand time for herself in the studio. Unable to travel great distances, Ting remained in the Bay Area for treatments. Her Sausalito studio became a sanctuary of sorts where she would meditate and pursue new ideas. While her paintings always seemed to have a particular pace, the movement in the later works seems more meditative—forms looping and turning into themselves.

In one of her final interviews with in the fall of 2021, she confessed, “I think I’m a slow spontaneous person. I need something to fester for a while, then it comes out.”
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“Will I hear the Blue Bird Sing,” 2019, acrylic on canvas, 53 x 48 in. Collection of the Estate of Mimi Chen Ting
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Continuing our daily posts celebrating
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Post 30 of 31
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