Solo Exhibition
Paintings
January 18 - March 1, 2020
Osthaus Museum, Hagen, Germany
Exhibition Details
Paintings
January 18 - March 1, 2020
Kunstquartier Hagen, Museumsplatz 1, 58095 Hagen
http://www.osthausmuseum.de
Die in den letzten Jahren entstandenen Bilder von Sen Chung besitzen eine innere Freiheit, zu der auch Ordnungselemente wie Linien, Quadrate oder Rechtecke gehören. Der Gegensatz zwischen Form und Nichtform charakterisiert die Spannung in den Gemälden wie auch den Papierarbeiten. Auf wolkigen Hintergründen mit betontem Lichtgrund werden in den Werken von Sen Chung Farbquadrate, Kreise oder Punkte zur Bildmitte hin durch Linien miteinander verbunden. Das so entstandene kompositionelle Gerüst ist die Binnenfigur in den Gemälden, mal zentral eingesetzt, mal verschoben. Dieses zeichnet sich durch eine körperliche Leichtigkeit aus, die zugleich auch einen Zustand von Fragilität andeutet. Die ansichtigen Formen sind Objekte im Bildraum, die ortlos zu sein scheinen. Sie wirken frei und sind zugleich verschiebbar. Fasst man diesen Selbstbezug existentialistisch auf, so lässt sich dieses Hin und Her charakterisieren als eine Spannung von Welt und Ich ohne verlässliche Orientierung.
Keeping in mind how the contemplative attitude crystalizes into a painting in the studio, forms encounter and clash with each other at the end of the artist’s thought, and the overall chaos and isolation within the artist are thrown onto the canvas as if to escape, after much consideration. These elements at times take root in the painting, while at other times becoming something of a transient symbol thrown in the air. All painterly forms engaged in this process float around in the canvas in a state between awkwardness and certainty until the point of completion, in search for a specific meaning in the world of flatness. Specifically, the abstract images positioned in the monochromatic and neutral sense of atmosphere in my recent works are closer to a glimpse of material and existence. At the same time, it takes on the tendency to express the forms that faintly place themselves at the central axis of contemplation in a world, through abstract nostalgia and melancholia.
The colors and brush strokes that begin on my palette each time are diluted with questions on the outlook on the world of the ancient times and ontology, taking form of the painting. At the same time, the sense of aesthetic judgement, which overlaps and unfolds in an adventurous way on the surface, brings a new form to the inner world and makes the expression of the thought more natural while intensifying the aesthetic approach. Such aesthetic judgements are demonstrated on the canvas through the paint and brush strokes. Based on this, my work explores the point of contact between oriental painting and western painting on the theory of painting rooted on eastern sensitivity. In addition, the value of my work lies on the interpretation and re-interpretation of the ‘painting aesthetics’ or the ‘aesthetic judgement’ in contemporary meaning, in looking at painting itself as the subject of my work. As illustrated in art history, I think of painting by an artist as an enormous bridge that connects mortality and immortality in a certain meaning or realm.
