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Lot Essay
Flamboyant II (Lot 3304), 1987 illustrates Chu Teh-chun's acute sensitivity to colour effects. Chu encountered the works of Rembrandt in 1970 and subsequently he incorporated the use of symbolic light in his paintings. The reflections of light transform the colour blocks into the ultimate light source. Light is emitted from within the blocks, forming part of the structure and space of the painting.
This multi-dimensional visual space gets rid of the constraints of classical perspective. The space seems to have unfathomable depth, and at the same time, it represents a floating transient impression of light and shadow. In the painting, Chu also appropriates multi-perspective of traditional Chinese paintings. The painting therefore carries a landscape the artist revives from memory.
According to Chu, he does not put too much thought into how his audience might interpret his paintings. Instead, he concentrates on projecting his internal landscape onto canvas through abstract representation. The painting makes an impression on the viewer's spirit by exposing the private emotions of the artist. Chu Teh-Chun's paintings speak a universal language that appeals to all viewers.
This multi-dimensional visual space gets rid of the constraints of classical perspective. The space seems to have unfathomable depth, and at the same time, it represents a floating transient impression of light and shadow. In the painting, Chu also appropriates multi-perspective of traditional Chinese paintings. The painting therefore carries a landscape the artist revives from memory.
According to Chu, he does not put too much thought into how his audience might interpret his paintings. Instead, he concentrates on projecting his internal landscape onto canvas through abstract representation. The painting makes an impression on the viewer's spirit by exposing the private emotions of the artist. Chu Teh-Chun's paintings speak a universal language that appeals to all viewers.