View To Scale
View In Room
View To Scale
View In Room
Chinese ink, acrylic on canvas
Dimensions: 119cm (H) x 162cm (W) / 46.9" (H) x 63.8" (W)
Note: Actual colours may vary due to photography & computer settings.
Shortlisted for Octopus Energy Art Prize 2019/20 ‘Portraits from the Precipice’.
From the story of this painting, I thought of home gardens, community gardens and botanic gardens in the future. Climate changes, such as prolonged raining season, extreme hot weather and great temperature differences causes flood, forest fires, sickness and animals lost habitats. How are man-made, artificial gardens to survive in such circumstances? Where will be the parks and gardens for children and senior citizens?
I learn this word - 'hypermorph' from Muller's morphs terms. It means a mutation that causes an increase in normal gene function. Horticultural landscapes are mutable. Climate changes have had a significant impact on the landscapes. It promotes mutations. In the future, we will live with the consequences of these mutations.
Story of the painting:
In this painting, I seek to depict the rhetoric vibes of a garden. This is inspired by the narratives from my late grandmother about Taman Jubli Perak in my hometown – Sungai Petani, Kedah. There have a lot of ornamental plants, such as Hibiscus Rosa-Sinensis in range of colours: crimson red, golden yellow, bright white, orange and the pink mini Ixora that seldom bloomed. 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. For a period, she almost lost seeing the garden in vivid colours. Through other sensory organs, such as nose, ears, skin and palms, she experienced anew vibes around her from molecular level. I use the gestural expressionistic vibrant floral and quasi-static butterflies to reveal the vibes suggested by her sensory perception. To me as a listener, her narrative suggested a series of fragmented, distorted, molecular images derived from visual deficiencies. I painted the fictitious blooms in blocks and let the blocks shuffled, overlapped and impacted to each other to create multiple images in deficit. This multiplication elaborates the complex visual conditions of my late grandmother’s eyes. I used brushes and palette knives to make paintings of the images through (1) intertwining the contradicting patterns: the organic compounds of blooms entangled within the rigid, geometrical blocks and (2) superimposing the circular molecular layer randomly, partially. I painted the vibes in a range of colourful tones. It aims to channel the deficient images to aesthetical direction and to encourage a respect, a bravery and a confession of the imperfect conditions of human eyes, such as aging, obscurity and impermanence are innovatory artistic direction.
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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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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