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Fuen Chin

Golden Hour II

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Fuen Chin

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Golden Hour II by Fuen Chin
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Golden Hour II

by

Fuen Chin

US$ 540

Overview

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2019

Chinese ink, acrylic on sugar paper

Edition of 2

Dimensions: 78.8cm(H) x 54.1cm(W) / 31.0"(H) x 21.3"(W)

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

Item Description

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I am spending my time in Malaysia this summer. In this tropic area of the northern part, I wore a big straw hat; under the sun; almost got myself grilled in the heat; still playing with the Chinese ink and further tested the balance with other mineral-surface media, such as bronze, gold acrylic. In this painting, I elaborated the golden hour of spring, full of blossoms, fertilities, refreshing and energetic through twiddling the brushes and dominating the black fluids by bronze dips. I chose to paint on this sugar paper because I believe in this representational ecru colour a fundamental, natural, crude and warm base to bring up the motionless, seasonless, tropical scene to continue glowing in domestic context.

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

The sugar paper is 59cm x 84cm and the painting is 54.1cm x 78.8 cm.

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

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Artist Profile

Born: 1979

Hometown: Sungai Petani, Kedah.

Lives and Works: Sungai Petani, Kedah

My mantra: storytelling through writing, drawing, painting, marking, singing, dancing, playing with the brushstrokes. I am a self-taught artist and eventually pursuit of fine art research degree in my late 30s. I used to have a career in fashion institutions where I started making calligraphic paintings of the people’s wardrobes. The journey has been explorative. From making drawings of the wardrobes, I became fascinated with the paintbrushes in my palm, like I could refresh my vision with the whole new vibes created by these ‘magic wands’. As if I waved the magic wands, the vibes between human, animal, insects and floral became rhetoric. My paintings streamed along the journey from the microscopic to the macroscopic views. My arms competed with the moments of the stories in the ever-changing utopia. Certain scenes of the journey lost neither in narrative nor vibe but vision.

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