個人簡介
美國北方大學藝術博士 ✳文韜武略悾憁過,瀟灑無慾性自真...... 【陳歡學經歷】 ✳美國北方大學 Northern University 藝術博士。藝術碩士 ✳曾榮獲全國大專院校設計聯展 平面設計組分組第一名 ✳曾榮獲全國設計界十大設計師金鼎獎 ✳曾至清華大學美術學院進修當代油畫藝術研究生 【陳歡參展記錄】 2000年 雲河藝術公司個展 2001年 雲河藝術公司個展 2002年 雲河藝術公司個展 2003年 雲河藝術公司個展 2004年 視覺聯盟文山特區聯展 2005年 視覺聯盟文山特區聯展 2008年 台北國際藝術博覽會個展 2008年 視覺聯盟信義公民會館聯展 2008年 參加景薰樓秋季拍賣會 2009年 台東文化局-夏艷。歡顏 油畫個展 2009年 視覺聯盟視覺聯盟-夏藝眺 京華城聯展 2009年 金仕發拍賣公司兩岸藝術家聯展 2010年 台灣藝術博覽會2010陳歡詩畫個展 2010年 台中文化創意園區聯展 2010年 浙江省立博物館西湖美術館-漱雲 油畫邀請展 2010年 北京國際展覽館油畫個展 2010年 廈門天趣藝術中心三人聯展 2011年 台北市市長官邸沙龍-舞袖 詩畫個展 2011年 加拿大溫哥華文化中心油畫個展 2011年 台北國際藝術博覽會油畫個展 2011年 台北介壽堂「非池中尋寶圖」藝術家聯展 2011年 台北市社教館加拿大華人藝術協會聯展 2012年 台北市市長官邸沙龍油畫個展 2013年 台中文化局-潺湲儃佪 油畫個展 2013年 加拿大UBC University華人藝術家聯展 2013年 台北市市長官邸沙龍油畫個展 2014年 台南東門美術館油畫個展 2014年 墾丁夏都酒店油畫個展 2014年 台北市市長官邸藝文沙龍油畫個展 2015年 台北國立藝術教育館台加藝術家聯展 2015年 義大利米蘭雙年展-毅行絲路 2016年 台北市市長官邸2016年風情萬種油畫個展 2016年 韓國濟州島藝術博覽會 2016年 香港藝術博覽會油畫個展Asia Contemporary Art Show 2016年 美國洛杉磯,pasadena市-中國關注藝術家名家作品國際展 2016年 瑞典Skurup市 天鵝湖城堡博物館油畫個展 2016年 上海甲乙藝術中心油畫個展 2016年 上海99藝術中心 陳歡 葉方 詹金水聯展 2017年 紐約北美華人藝術聯展 2017年 威尼斯雙年展衛星展 2017年 中正紀念堂空谷回聲油畫個展 2017年 景德鎮中華文創學會聯展 2017年 廈門藝術聯展 2017年 國父紀念館「群星爭輝」聯展 2017年 桃園光點藝術中心聯展 【陳歡參加藝術社團學會】 台灣美術恊會 會員 台灣北岳畫會 理事長 清華大學美術學院 清美藝術創作研究會理事 歆園畫苑 創辦人 兩岸和平藝術聯盟 油畫委員、藝術顧問 港澳台美術協會 榮譽理事 中華民國視覺藝術聯盟 會員 中華文化創意學會 會員 台灣文化創意學會 會員 加拿大華人藝術協會 會員 【陳歡被典藏記錄】 2010年 50F『歸鳥』浙江省博物館永久典藏 2010年 40P『白荷』台北市市長官邸沙龍典藏 2011年 20F『薪火相傳』溫哥華台加文化中心典藏 2011年 60P『寫意山水』台灣駐加拿大辦事處收藏 2012年 大台北銀行文化基金會典藏 2013年 台北市市長官邸藝文沙龍典藏 2013年至2016年瑞興銀行文化基金會典藏 《陳歡簡介》 陳歡,祖籍 福建南安,出生於台灣彰化縣埔鹽鄉望族,自幼即酷愛藝術,畫筆從不離手,國小時即受到鹿港名畫家許輝煌老師啟蒙,國中之時亦受前水墨畫會理事長林煒鎮老師作繪畫之教導。爾後全家遷徙台北市,水彩師從胡笳,油畫素描師從李德等名師;二十幾年之間,曾從事廣告設計、室內設計師、光啟社美術指導、中央電影公司美術設計…..由十九年前,開始從事室內設計事業,現為香榭綠舍空間設計有限公司設計總監,爾後轉型為職業畫家。 三十幾年間,秉持著對繪畫藝術的熱愛,因此個人的藝術創作從未間斷,其商業設計作品有過不少膾炙人口的佳作,如但漢章執導的《怨女》經典海報、侯孝賢執導的《戀戀風塵》電影海報設計,即曾榮獲全國海報選拔第一名,同時也打破了世界藝術海報拍賣的收藏行情,是海報收藏家爭相典藏的作品,因此陳歡是台灣極其優秀且重要的設計人之一。天后張惠妹等演藝界、醫界、政商界亦有不少名人皆曾是其室內設計的客戶...... 【 關於陳歡之評論 】 陳歡情境油畫創作,在具象與抽象之間,半自動技巧讓畫面呈現滴流法與自由筆觸,深邃意境直探現代人渴望心寧安靜的內心世界,欣賞其畫作彷彿時間並不存在,時空亦凝結於畫境之中,讓欣賞者很容易的進入其壯闊之意境,亦能翩然離開畫中之虛擬世界,一切或可說是歲月無情之寫照。總之,生命的悸動是一種真理、生命乃是永恆的....... 
 帝圖科技文化公司、非池中藝術拍賣公司營運長、萬寶週刊發行人、
前臺灣畫廊協會理事長、宸鴻文化基金會董事長 資深藝評家 黃河 欣賞陳歡創作油畫,宛如閱讀一首新詩,亦若欣賞一首古詩;因其作品之意境似新詩的清新遼闊,也兼具了古詩般的寧靜與深邃,故稱其為「詩人畫家」正恰如其分。
 名作家 小野 
 陳歡從開始發表油畫迄今,已邁入第十個年頭;在景氣高低起伏的這幾年,依然開出亮眼的銷售成績,這不外乎是畫家長期對自己畫風的執著及藏家投資信心之堅定。去年景薰樓秋拍,陳歡的油畫亦受到不少藏家青睞,以高於拍賣公司預估價2.15倍成交,國內有不少重要收藏家亦曾收藏過他的作品,足見其迷人的情境式畫風還是讓人高度的喜愛與肯定。 

 投資大師 陳忠瑞

 一代美學大師宗白華把傳統文字歸納為三種境界:1.以情勝 2.以氣勝 3.以格勝,這三種層次和攝影的演繹手法有異曲同工之妙,想想看,陳歡的作品究竟屬於何種層次呢?從事創作,個人秉承的「態度」和「精神」非常重要,有道是態度決定高度,精神決定深度,兩者合一就確定了可行的進路-立基於人生觀/價值觀的衡量下,可以遵循,值得努力的大方向-這一點,陳歡做到了。認清了這個方向,目標不再迷茫,心境不再慌張,努力耕耘,一步一腳印,總有一天,即使未達功成名就,也可以趾氣高揚,因為這一切,歸根究 底,的確是人格特質與藝術水乳交融,發揮到淋漓盡致的最佳典範-這一位代表性的人物,也是陳歡-我的得意門生。 論語,子路有云:「狂者進取,狷者有所不為也」,試問,一個不狂不狷的人,如何能創作出令人驚艷、震撼又富有視覺張力、想像空間的作品呢?我一向自認為「國畫重造境,油畫重情境,水彩重心境而攝影追求意境,然而,「繪畫是視覺上的一種藝術,絕非言語可以形容或描寫其萬一。它和音樂相似,是給我們傾聽,而非向我們解釋。」(取自劉其偉著:現代繪畫基本理論第16頁 歐亞出版社)....非科班出生的水彩大師劉其偉何其偉大,這一句話豈只是鏗鏘有聲,簡直是一針見血,一語道破了創作的本質,也隱喻了創作者的精神與態度。 且讓我們仔細賞析陳歡的油畫作品-像國畫?西畫?水彩?或者說像攝影?再換角度來看,是印象?象徵?表現主義?事實上,一切都不成問題,因為,陳歡只希望我們海闊天空去傾聽,而非劃地自限找說明。畢竟,我說東來你說西,氣勢磅礡卻迷離,地底趨向為何物,揮灑自如私領域....... 攝影大師 謝明順 教授 藝術是於有限的材料之中,寓以無限的精神...... 陳歡學習的心路歷程中,集西方水彩、油畫、東方水墨的淬鍊於一身,現在創作的油畫卻能寓於寫意精神與自由技巧中自然流露出濃濃的東方禪意與詩意,每幅畫作均揉合了東、西方特質,在律動的畫面中,找到了難得的靜謐之平衡美感。攝影大師謝名順老師曾說:「欣賞陳歡油畫創作,就像閱讀了一首美麗的詩篇」,所以,名作家小野稱陳歡為「當代的詩人畫家」是何等的恰當。在陳歡迷灕磅礡的瀟灑畫作裡,我們可以感受到藝術家狂放不羈與細膩糾纏的思維,我們也可以傾聽到自己內心深處遙遠的聲音與沈澱已久的思古幽情……. 國票金融控股公司董事長、清翫雅集理事長、名收藏家 洪三雄先生 沉 靜 的 張 力 / 「夢與詩」的表現主義 自幼即喜愛藝術,進而走入藝術的陳歡,在多種美學底蘊、人文省思、生命哲思的層層歷練之下,將自己心中的夢與詩藉由油彩,以抒情手法、純粹的美學觀念全景展開的呈現於畫布上,這也是陳歡自我性格的呈現與心靈空間的無限延伸。簡潔有力的構圖表達,每幅創作卻極具創造力與生命力 ,其意境時而洶湧澎湃、時而溫柔嬌羞,在自然流暢的畫面中融合了中西畫風,且兼具所謂的「虛實平衡」「浪漫唯美」同時也蘊含著濃厚的東方禪意。 在技巧方面,陳歡表現的繪畫方式,強烈意圖的跳脫傳統學院派束縛,讓鈍重稠密的油彩,自由的盡情流動於畫面之中,畫風大膽創新、獨樹一格。畫境能讓欣賞者打開心門,進入其寧靜冥想的意境,並且營造出一種令人難以抗拒、令人喜悅、令人心情平靜,完全釋放沈澱的律動平衡、讚頌生命的無上美感。這種美感,我稱之 為「沉靜的張力」。 台灣師範大學研究所美術系名譽教授 陳景容 期盼台灣的吳冠中-陳歡 雖然歷經美工學院訓練,也私塾數位西畫家學藝,陳歡的畫作沒有師承的包袱, 也無科班的限囿與匠痕。 雖然狂狷瀟洒、熱情誠摯、品味廣泛、交遊滿天下,陳歡的畫作沒有刻意的煽情、俗豔與霸氣。 雖然採西式油畫,陳歡的畫作全然是中國山水畫精神,卻不拘泥水墨規矩,有著傳統文人畫的況味,卻富含西方藝術的表現,化中入西,以西現中,獨樹一格, 難以歸類。重點是陳歡的畫作極為迷人,他的色光情境氛圍有若吸睛大法,常會令人駐足不移。 陳歡的技法融合水墨、水彩、攝影、油畫;畫風遊走現實與超現實、抽象與具象; 題材是胸壑風景與腦中宇宙;作品天馬行空,創意出人意表,畫面和諧清麗,畫意深邃雋永。 陳歡的繪畫語言可以看到中西大畫家的符號,但是,畫面的佈局全然是他自己心靈的劇場。以「天籟」一畫為例,背景三分之二分割,象徵不同時空的不變天籟, 前景只有一把提琴與散置的椅子,暗示無聲勝有聲,也有保羅克利的趣味。在「山水詩畫」,構圖見諸李可染與吳冠中,但是迷灕氛圍與清麗色光無疑是陳歡的獨特符號。再觀「藍月」,是典型抽象、具象與超現實的結合,也是畫家夢境的化生 , 前景的山壁肌理是趙無極,遠山之前的藍月與隱約的古堡是馬格利特,超乎常理的光影與設色當然是陳歡。「奉天」是轉型當代初聲,離不開老中國,卻是拋棄傳統的吶喊。雖然已有所成,好畫家得不斷創新,幻變風格,這是陳歡始終思考的問題,也是不惑之後再赴北京清華取經的動機,一方可以擴展視界,另方亦可檢驗自己的方向。 赴京後的多媒材(木雕彩繪)作品「守護」與「美麗的陷阱」,青花圖騰仍然不失中國,裸女人體與抗地心引力的飛天有馬諦斯與夏卡爾的意象,但是整體佈景色相依然是陳歡。融入當代重在精神而不是形式。陣痛難免,就靠慧根與努力。以陳歡之才氣,歸來後當然不只是會念經的和尚,而是可以度眾生,佈新局的大法師。 綜觀陳歡的中西融合、彩墨油畫風格,不囿於傳統或學院,雖說在繪畫語言完全不同於吳冠中,但是在精神上相當契合,我們期待大放異彩台灣未來的吳冠中-陳歡 資深鑑賞家及國際重要收藏家 蔡克信 院長 EllisonChen英文 1 “Shortcut to a Lyrical Realm, Free and Straight to the Heart”: Appreciating Ellison Chen’s Paintings Through a “Photographer’s Eye” By renowned photographer, Professor Hsieh Ming-hsun One of the most satisfying and happiest things in life, regardless of affection, wealth, or status, is to have a truly profound and blinding love of art. This is not just an appreciation, because if you can do so, you will have no regret at all in spending an entire life in having taken this path and pursued this lofty goal. In this regard, Ellison Chen has indeed succeeded. A great aesthetician of our age, Mr. Tsung Pai-hua, divided traditional Chinese characters into three general categories: 1) those distinguished by sentiment, 2) those distinguished by spirit, and 3) those distinguished by style. As it turns out, these three levels of understanding parallel the evolution of photographic techniques quite well. So come to think about it, which of these realms do the works of Ellison Chen fall into? Personally involved form some time in the arts, I personally believe that “attitude” and “spirit” to be of utmost importance. When you have virtue, attitude determines the height of your achievement, while the spirit determines its depth. When you combine them together, the two confirm the path you can travel. A balance between your outlook on life and your personal values thus can serve as an important rudder in life, making it a major direction wholly worth pursuing with all your might. And in this regard, Ellison Chen has also succeeded quite well. Once your direction has been recognized, you will not be confused about your goals in the least, nor will you have any doubt or confusion about what you are doing. By striving to cultivate yourself as such and taking things one step at a time, there will come a day when, even if fame and success elude you, you will still truly have something that is worth celebrating. After all, everything that you have achieved goes back to the seeds you planted and nourished in the past. Only then is your personal character and art in perfect harmony. An excellent example of how this is most beautifully portrayed can be found in the example of a student of mine, Ellison Chen. The Analects of Confucius states, “The ardent will advance and lay hold upon the truth, and the cautiously-decided will keep themselves from what is wrong.” So a question that you can ask is, “How can someone who is neither ardent nor cautiously-decided be able to create works of such imagination and rich and stunningly beautiful visual tension?” I have always personally believed that “Traditional Chinese painting recreates the scene, oil painting recreates the sentiment, watercolors recreate the mood, and photography aspires to the idea.” I also feel that, “Painting is a kind of art using visual terms; by no means can language describe or portray all its possibilities. In many ways it is similar to music, which makes us listen all the more closely and does not come to us seeking explanation.” (excerpts from Max [Chi-wei] Liu, The Fundamental Theory of Modern Art [Lion Art Books], page 16). How did the watercolor master Max Liu become such a great artist, despite having no formal training? Fortunately this question should ring a bell, because it simply hits the nail on the head. A single remark can lay bare the truth about the true nature of art. And it also can serve as a metaphor for the spirit and attitude of the artist, allowing us to more closely analyze the oil paintings of Ellison Chen. Are they more like Chinese painting? Western painting? Watercolors? Or perhaps even photography? From yet another point of view, is his painting closer to Impressionism? Symbolism? Expressionism? In actuality, neither of these questions poses a problem for us, because Ellison Chen merely wants us to look at and listen to the expansive sky and sea rather than confining ourselves to find answers or explaining them. After all, I can say East and you can say West, but it is so forceful and boundless yet vague that you never know exactly what it is, surging forth freely in a completely personal realm. From his works we find the brilliance of Ellison Chen, but what he possesses in terms of a dominating spirit surpasses others has not yet been completely liberated. Nevertheless, in that introversion and ebullience of his works, solid and void together merge into a new realm of “romantic balance.” Ellison Chen already lacks nothing, for he only needs to keep striving with perseverance, so we most certainly look forward to his accomplishments. Hsieh Ming-hsun July 2010, Taipei The Tension of Deep Serenity: Expressionisms of “Dreams and Poetry” With a love of art since childhood, and always taking it to the next step, Ellison Chen has used the poetry and dreams in his heart and infused them with multiple layers of aestheticism, humanism, and a philosophy through the colors of oil paints. With his emotive techniques and pure aesthetic point of view, entire scenes seem to unfold and reveal themselves on the surface of his paintings. This is an expression of Ellison Chen’s personal character and the unlimited extension of his spiritual space. With compositional expressions of simplicity and power, each and every work of his possesses creative force and a power of life. His realm of ideas surges and bursts forth at times, while at others revealing a softer and gentler side. The surfaces of his paintings naturally flow with a fusion of Chinese and Western styles, achieving a so-called “balance of solid and void” and “romantic aestheticism” while simultaneously incorporating a strong sense of Oriental meditation. In terms of technique, Ellison Chen’s method of expression in painting strongly attempts to escape from the confines of traditional academic practices, allowing pure and dense oil colors to freely move with the emotions on the painting canvas. His style of painting is bold and innovative, completely in a manner of his own. The gorgeous hues of his blues and greens are used with beauty and skill to great effect. The scenery of the painting allows the viewer to open doors to his or her heart and mind, thereupon entering a serene and meditative realm of ideas. It also creates a kind of supreme aesthetic in praise of life that you cannot resist, gives sheer joy, brings peace to the soul, and completely liberates the rhythmic balance that lies underneath, yielding an unparalleled aesthetic of life. This is a kind of aestheticism that I call “the tension of deep serenity.” Chen Ching-Jung Professor Emeritus, Department of Fine Arts, National Taiwan Normal University Hsieh Lin: “With limited materials, art gives rise to unlimited spirit…” Mr. Steven Hung, Chairman of Waterland Financial Holdings and also an important art collector in and director of the Ching Wan Society, has said the following about Ellison Chen: “The course of Ellison Chen’s learning has been to gather together the oil painting and watercolors of Western art with ink painting of theOrient, forging them into one. The oil paintings that he is doing now are able, in their embodiment of the “sketching ideas”tradition of Chinese painting and the freedom of expression, to naturally exude a strongly lyrical and meditative ideal of the Orient. Each and every painting of his combines the essence of Eastern and Western features. In the rhythmic surface of his works, we find a serene and peaceful aesthetic balance that is indeed extremely difficult to find elsewhere nowadays. The renowned photographer, Professor Hsieh Ming-hsun, once said, “Enjoying an oil painting of Ellison Chen is like reading a beautiful poem.” Likewise, the famous writer Siu Yau once described Ellison Chen as a “contemporary poet-painter,” which is quite appropriate. In Ellison Chen’s diffuse and expansive paintings we can feel the artist’s unrestrained and unbridled nature as well as his fine and constrained train of thought. We can also hear the sounds from the most remote part of our own hearts and realize a deep and serene nature that has been submerged there for such a long time….” The modern Taiwan poet-painter Ellison Chen, who has been in contact with art since childhood, has throughout the course of his studies associated with famous and legendary figures in the arts. In elementary school, for example, his study of art started with the famous Lukang painter Hsu Yao-huang. At that time, a younger aunt of his, the famous ceramicist Lien Pao-tsai, recognized Ellison’s extraordinary talent in art. When she was studying in university, she would often mail him imported watercolor paper and pigments to his countryside home in Changhua to provide him with materials for painting. Ellison’s father himself even made a portable palette to allow his son to travel the countryside in remote and out of the way places and do paintings from life. When Ellison was in junior high school, the famous ceramicist Chen Chiu-chi and Lin Wei-chen, Director of the Ink Painting Society, served as his teachers in watercolors and ink painting, respectively. When Ellison was growing up, a watercolor master, the late Hu Chia, taught him, and in oil painting he received instruction from such famous artists as Li Te. Ellison Chen continually innovated in oil painting for more than thirty years. It was not until about a decade ago, however, that Huang Ho, a music lover and longtime art critic, started to visit Ellison’s home and listen to music with him. After Huang discovered Ellison’s talent in oil painting and gave him encouragement, Ellison’s oil painting finally came to light. And in Ellison’s first exhibit, collectors snatched up every one of his paintings. In the decade since then, Ellison has achieved an enviable record in terms of sales at solo exhibits that he has held annually since then. In an interactive blog site now very popular among artists, Rumotan Ellison Chen has always been a leading figure among artists on both sides of the Taiwan Strait, achieving the most visits by browsers to the site. As a result, Ellison Chen has become highly appreciated by general audiences and fellow artists alike. This is probably the result of his background and upbringing since youth along with the dramatic events in his family, all of which have come together in his life. Brewed and simmering, they create a sharp and strong life force of great determination and capacity. Along with the brimming humanistic spirit and cultivation that he possesses, Ellison Chen has been able to take the cultivation and feelings accumulated over the years and to completely pour them into the paintings that he has done…… Noted art critic Huang Ho: Chen Huan’s landscape oil paintings fall midway between the concrete and the abstract, using a semi-spontaneous painting technique to present on the canvas an effect that combines aspects of the splatter technique with free brushwork. Chen’s in-depth exploration of mental landscapes speaks directly to modern people’s desire for an inner world of peace and tranquility. When one is admiring Chen’s work, it almost seems as though time no longer exists; both space and time are encapsulated within the landscape depicted, making it very easy for the viewer to “enter”these broad, imposing vistas, and equally easy for them to float away from the virtual world created by the painting. Leading investment advisor Chan Choen-Ray: It is now ten years since Chen Huan first started exhibiting his oil paintings. Despite the economic ups and downs that have occurred during that time, Chen’s paintings have continued to sell well, reflecting both the artist’s commitment to their work and art collectors’ unwavering confidence in him. At last year’s autumn auction at the Ching Shiun Gallery in Taichung, Chen Huan exhibited a 20-foot painting entitled Rouge, which attracted the interest of a large number of collectors, and eventually sold for the impressive sum of NT$450,000. Clearly, Chen Huan’s entrancing landscapes are still very popular with collectors. Noted author Hsiao Yeh: Viewing one of Chen Huan’s oil paintings can be compared to reading a new poem, but also to reading an old poem. Chen’s work has the freshness and broad vision of a new poem, together with the tranquility and depth of an old poem. Chen can fairly be described as a true “poet painter”! The Future Wu Guanzhong of Taiwan- Chen Huan By Dr. Tsai Kexin, Art Connoisseur and Collector Although Chen Huan trained in the applied arts in college and has received private lessons in painting from various western style painters, his works do not exhibit any noticeable trait of stylistic lineage or ‘school’ of art. While appearing wild, passionate or confident, Chen’s paintings show no signs of pretentiousness or overbearing arrogance. No doubt, his exquisite taste and extensive travelling would have something to do with it. Although Chen works in the western painting medium of oil on canvas, he tries to convey an essence of Chinese landscape painting complete with the spirit of literati tradition, but devoid of any set rules of Chinese ink painting. Therefore, they are a magical fusion of western artistic expression and Chinese literati spirit, making them not only unique in the world of art, but visually stimulating at the same time. The aura surrounding Chen’s painting often induce a state of total immersion in the viewers. With regards to Chen Huan’s painting technique, we see a variety of mediums that he employs at will in his art, such as ink, watercolor, photography and oil paint. And the style of his work could include realism, surrealism and abstraction. Despite the myriad techniques and stylistic orientations he uses, a harmonious, profound yet challenging statement is often achieved. Although we could make out some of the artistic language or elements by well know Chinese and western painters in Chen’s work, the way he composes his pictures is all his own. They are like ‘theatres of the mind’. Take for instance ‘Heaven’, we see in it a background that occupies two thirds of the composition that symbolizes the sky in different space and time. There is a single violin and some scattered chairs that suggest a world without sound, or a vista of a Paul Klee painting. In ‘Poetry in Landscape’, the composition reminds one of paintings by Li Keran or Wu Guanzhong, but the misty atmosphere and penetrating light are all recurring elements Chen uses in his work. ‘Blue Moon’ is a typical fusion of abstract, realistic as well as surrealistic elements which could be read as the painter’s dream state. The texture of the hill cliff in the foreground is no doubt influenced by Zhao Wuki, the blue moon and hazy castle in the background could be linked to Magritte, but the extraordinary light and shadow as well as the use of colors are distinctly his own. ‘Sacrifice to Heaven’ represents a work in transition for Chen Huan who obviously wishes to discard the stifling elements of ‘tradition’- the ‘Old China’, so to speak. Like any innovative artists who are always probing and trying new methods of working, Chen decided to further his studies at Beijing’s Tsinghua University a few years ago so as to expand his world view and to examine what future direction his art should take. While in Beijing, he made several painted sculptural works in wood such as ‘Protect’ or ‘Beautiful Trap’ that depict totems in blue and white porcelain motives with a distinct Chinese characteristic. His nudes and gravity defying flying devas, on the other hand, still suggest a nod towards Matisse and Chagall. All these are tied down by Chen’s special treatment of the background and color scheme. It is not enough to embrace contemporary art by merely appropriating its stylistic language, one should also have an understanding of its underlying spirit. It is always a bumpy road during the course of an artist’s re-examination process, but with Chen’s talent and wisdom, he should have no problem in elevating himself to another level of accomplishment. When we look at the fusion of Chinese and western elements in Chen Huan’s paintings, we see an artist who is not willing to follow the tradition or any school of art. His artistic language may be totally different from that of Wu Guanzhong, yet in questing spirit, they are quite similar. We look forward to the day when Chen Huan would achieve the status of the future Wu Guanzhong of Taiwan. Chen Huan’s Artistic Career Awarded First Prize at the University and Junior College Joint Design Exhibition Winner of the Golden Tripod Award for the Top Ten Designers in Taiwan 2000 : Solo exhibitions at the Moon River gallery 2001 : Solo exhibitions at the Moon River gallery 2002 : Solo exhibitions at the Moon River gallery 2003: Solo exhibitions at the Moon River gallery 2004: Joint exhibition at the Visual Alliance Wenshan Zone 2005: Joint exhibition at the Visual Alliance Wenshan Zone 2007: Chao Kai Gallery Joint Exhibition 2008: Solo exhibition at Art Taipei 2008 2008: Visual Alliance joint exhibition at the XinYi Public Assembly Hall 2008: 20-foot painting entitled Rouge auctioned for NT$450,000 at the Ching Shiun Gallery autumn auction 2009: “Summer Radiance and Joyful Faces” solo exhibition of oil paintings at the Cultural Affairs Department, Taitung County Government 2009: “Summer Art” joint exhibition at the Core Pacific City shopping center 2009: “Cross-strait” joint exhibition at Kingsley’s art gallery 2010: Solo exhibition at the Taiwan Artists Fair 2010: Visual Alliance joint exhibition at the Taichung Art District 2010: “Soft Clouds” solo exhibition at Zhejiang Provincial Museum, China 2011: “Dancing Sleeves” solo exhibition at the Mayor’s Residence Art Salon, Taipei City 2011: Solo Exhibition at the Culture Center of Vancouver,Canada 2011: "Joint Exhitition" at the Taipei International Art Exhibition, Taipei Taiwan 2011: "Joint Exhibition" at the Visual Alliance, Taipei Taiwan Collection Record By 2009: Cultural Affairs Department of Taitung Hsiang Government 2010: Zhejiang Provincial Museum,China 2011: The Major's Residence Arts Salom, Taipei,Taiwn 2011: The Culture Center of Vancouver,B.C.Canada 2011: The Economacal and Cultural Office of Taiwan Vancouver,Canada
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陳歡 2011 油畫類 5000~~8000
 
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