靳杰強早年隨周一峰、梁伯譽、靳微天習中國畫,隨區建公習書法、篆刻,1964 年開始在香港參加公開展覽,1975 年獲美國馬利蘭大學物理學博士。他曾在美國、香港和台灣舉辦個展三十一次,在世界各地參加聯展七十多次,其中包括 1995 年在台北美 術館的三十年回顧個展。
書法兼善各體,風格清逸而富韻律,近年喜以書法作裝置藝術。作品為香港藝 術館、香港中文大學崇基學院、美國世界金融基金會、美國科學促進會、美國駐莫斯科大使館,美國國務院藝術庫,以及私人和 企業等所收藏。
在創作技法方面,靳杰強充分利用了西方現代藝術的表現方法,如簡單化、硬邊化、抽象化等手法來展示中國傳統山水的精華。 在山川、樹石、雲霧尤其是飛瀑流泉之間,探索中西藝術的融合。他在創作實踐中,發現科學研究與繪畫藝術之間有許多共同之 處,在人與自然之間找到了濃郁的詩意與崇高的境界,從而達到一種獨特的現代藝術風格。
At an early age, Kan Kit-Keung studied traditional Chinese painting under Leung Pak-Yu, Chow Yat-Fung and Kan Maytin, and studied calligraphy under Au Kin-Kung. He first exhibited his work and participated in art competitions in Hong Kong in 1964. He obtained his PhD degree in Phys-ics at University of Maryland in 1975. Since then, he had held thirty one solo exhibitions, including one at Taipei Fine Arts Museum, and partici-pated in more than seventy group exhibitions in Washington, DC, Taipei, Hong Kong and other cities in the world. His painting evolves through several stages. He used traditional techniques to study rural landscapes of Hong Kong in the nineteen sixties and went through abstraction through simplification in the nineteen eighties. Recently, he has been developing his painting vocabulary anew and embarked on paintings specialized on white water and waterfalls. His treatment is realistic, but often borders on abstractionism. In calligraphy, he has established indi-vidualistic styles in all of the five major scripts and created installations using his calligraphy. His work is collected by Hong Kong Museum of Art, Chung Chi College, the University of Hong Kong, International Monetary Fund, American Association for the Advancement of Science, American Embassy in Moscow and many private and corporate collectors.
He made use of some of the basic approaches of Western art, such as simplification, hardedge, and abstraction to capture the essence of tra-ditional Chinese painting. Among the mountains and rivers, rock and trees and clouds and mist, and waterfalls and dancing branches, he has found his spiritual solace and discovered the common ground between scientific research and artistic expression. As a result, between man and nature he has found his new poetry and new sense of beauty, reaching the point where man nature attains their spiritual communion. This is Kan's artistic achievement in synthesizing the self and nature, art and science, and China and the West, to form a new style in modern art.