“Gesture is the impulse, the potential, the kinetic,” she says. “I don’t want to lose that. I’m at that midpoint [in this series], where the paintings are becoming more composed and practiced. There’s a point where that can go too far. Now it’s about restraint without losing that spontaneous energy.”
Chen has described this body of work as “femme brut,” delicate and forceful, raw and refined. Like the artists of the New York School, she looks to abstraction as a mode of personal freedom and expression, embraces nontraditional materials, and struggles to maintain balance between chaos and control.
The newest painting among these works contains no paint at all. Rather, she draped leather skins of varying colors — white, taupe, light gray, charcoal, and burgundy — in “a way that is free and natural as possible. My hand is removed.
“I really love painting,” she deadpans. “So this is a conundrum.” Article source: http://www.palmspringslife.com/the-nature-of-expressionism/
Article source: http://www.palmspringslife.com/the-nature-of-expressionism/