[3] Bingyi is best known for her enormous-scale ink paintings in which she works, over months or years, with the environmental conditions of a specific site, to capture a reality-scaled record of the climatic and topological forces shaping a natural or urban landscape.
She is one of the most provocative painters within the shanshui tradition yet manages to also work in different media and domains such as urban planning, film-making, poetry-writing and multi-media installations.
At the other end of her wide-ranging practice, Bingyi explores the microscopic origins of organic life in intimate, small-format paintings, in which her minute and meticulous brushwork paradoxically reveals a profoundly creative, gestural, and "calligraphically expressive" quality drawn from her daily calligraphy routine.
Through her hypnotic, obsessive endurance, and execution both painstaking and nuanced, one senses the loving power of nature itself as it crafts animate life from inanimate matter.
[6] Bingyi's first large ink painting installation, 18 by 23 meters, opened at Chicago's Smart Museum of Art in 2011, in an exhibition curated by Wu Hung.
Working with the conditions of suspension, gravity, land, and wind, she bombarded an airfield with 20-kilogram (44 lb) oil-and-ink "bombs"—500 kilograms of material in total—launched from a helicopter.
Made in Jiangxi Province's Longhu mountains, one of the most sacred sites in China, the painting registers the effects of wind, sun, humidity, air pressure, and terrain with ink and water on bespoke xuan paper.
[citation needed] Bingyi's artwork has been exhibited in Australia, Belgium, Canada, China, Germany, South Korea, Spain, Turkey, and the United States.