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Fuen Chin

Four Chrysanthemums

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Fuen Chin

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Four Chrysanthemums by Fuen Chin
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Four Chrysanthemums

by

Fuen Chin

US$ 718

Overview

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2019

Chinese ink

Unique Work

Dimensions: 65cm (H) x 62cm (W) / 25.6" (H) x 24.4" (W)

Note: Actual colours may vary due to photography & computer settings.

Artist Statement

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採菊東籬下,悠然见南山. - 陶淵明(約365年—427年)
While plucking the wild chrysanthemums at the east gate, the poet saw Mount Nanshan at distant. - Tao Yuanming (estimated year 365 - 427)

I adore the aesthetic values in this Chinese verse. In this modern twenty first century farm on the hill, I saw the wild chrysanthemums grow equally well and freely. However, I don't get to see any towering mount but a rather compacted concrete jungle in panoramic view. That day, I quickly made a painting of the four wild chrysanthemums before sunset. I waved brushes on Chinese rice paper to satisfy the historical context.

In the moonlight, I packed all tools and drove back to the city.

Note: Plum flower (梅), orchid (兰), bamboo (竹) and chrysanthemums (菊)are renowned as the four gentlemen (四君子) in the empire of plants.

This painting is signed on the front or back and includes my Certificate of Authenticity.

Art © 2019-2022 Fuen Chin. All Rights Reserved.

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Artist Profile

Born: 1979

Hometown: Sungai Petani, Kedah.

Based in: Sungai Petani, Kedah

Fuen Chin was born in a small town in Malaysia. She is a self-taught artist who eventually pursued a fine art research degree at the Royal College of Art. When Fuen presented her calligraphic painting on the wall to the panel of judges at the college, ‘the panel very much enjoyed your proposal and presentation and thought there were a lot of interesting possibilities that may emerge from your works,’ this has encouraged Fuen to continue exploring the ideas, concepts and ‘drama’ embedded in Chinese calligraphy.

Fuen spent most of her childhood in the herbal shop run by her late grandparents. She established the first contact with Chinese writing in the shop. In the shop, each drawer could accommodate 4 different types of herbs and the Chinese name of each herb were written on the outside of the drawers. At that time, those characters were mnemonics instead of words for her. Then, she spent 6 years learning to write Simplified Chinese characters. As a teen, she worked to distribute herbs to each drawer and touched up the fading Chinese characters.

Fuen developed an interest in reading Chinese classical novels, folktales, and fables since she started learning Chinese calligraphy. A Chinese idiom: Shu Neng Sheng Qiao (熟能生巧), it means practice makes perfection. She used to copy stories into exercise books by practicing Chinese calligraphy. The more Chinese calligraphy practices she did the more stories she read; and, the more fascinated she became towards the variety of Chinese doctrines.

The motifs of Fuen's calligraphic paintings change from time to time. She introduces the paintings as a way to communicate, to disseminate ideas and to invite imaginations. The art of her paintings derived from Chinese calligraphy, she proposes that the uniqueness of calligraphy is the multidisciplinary applications: writing, drawing, painting, marking, singing, dancing and playing.

Apart from the subject and method of painting, ownership is the most important reality for an artwork. It involves the inheritance of narratives, messages, intellectual properties to be sustained or continue to develop in the future.

A public showcase of the five calligraphic floral paintings at Vintners Place, London is an important milestone for Fuen. It is the first project of corporate art and it is an honor to work with the place and the curator.

Fuen feels thankful for the messages in the paintings:‘My late grandmother loved flowers, especially loved admiring blossoms in the morning. However, her vision started to decrease drastically in her early 80s. The ever-changing scenes in the blossoming garden became blurry to her. This series of paintings are the epitome of the complex visual conditions of my late grandmother’s eyes. It aims to channel the deficient images to the aesthetical direction and to encourage respect, bravery and a confession of the imperfect conditions of human eyes, such as aging, obscurity, and impermanence are innovatory artistic direction,’ being accepted and visually published in the 1980s classical-style office building in the City of London.

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Hypermorph Garden

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Isolation II

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Isolation I

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Chrysanthemum

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