We are delighted to be exhibiting the stunning artwork of artist Fuen Chin at Vintners Place, London.

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 in her late 30s. Here we talk to Fuen about her inspirations and the artworks in her current exhibition.

How and when did you first become seriously interested in art?

I love drawing since childhood but I did not have much thought of it would become a career for me one day.

The first fine art gallery I ever visited was National Portrait Gallery in London. I often walked there from London College of Fashion at John Princess Street. Then, of course, I went to Tate Britain, Tate Modern, V&A, etc. I started to love visiting exhibitions, private views and galleries instead of fashion high-street. I made my first painting on canvas when I was teaching fashion design in Shanghai. I have been making paintings since then.

What artists or professionals have been your biggest influences?

I look at female artists, such as Yayoi Kusama, Lee Kranser, Frida Kahlo, Georgia O’Keeffe, Jenny Saville. I am drawn to them with curiousity about the messages in their artworks. Their works often express unknown psychological depths that are attractive to me.

However, from the famous paintings: Claude Monet’s Water Lilies and Sir John Everett Millais’s Ophelia, I’ve learnt about ecosystems of paintings. Claude Monet made paintings of the Water Lilies in his home garden, which the series are references of the scenes in the past and it also explained the condition of the artist’s eyes – Claude Monet were suffering visual deficiencies from cataracts. Sir John Everett Millais made painting of Ophelia from constructing and referring to compatible scenes based on the classical novel: Hamlet from William Shakespeare. He painted the natural landscape along the banks of the Hogsmill River in Surrey and had Elizabeth Siddal modeled as Ophelia – she lied in a bathtub fully clothed in the studio in London.

What do you try to express in your work?

The motif of my calligraphic paintings change from time to time. I introduce the paintings as the way to communicate, to disseminate ideas and to invite imaginations. The art of my paintings derived from Chinese calligraphy, I propose the uniqueness of calligraphy is the multiplication of the elements: writing, drawing, painting, marking, singing, dancing and playing in the aesthetics measures.

Which is more important to you, the subject of your painting or the way it is executed?

 Apart from subject and method of a 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.

Which artistic project are you most proud of?

Public showcase of five calligraphic floral paintings at Vintners Place, London is the important milestones for me. It is my first project of corporate art and it is my honor to work with the place and the curator – ARTful, London. I feel thankful for the messages in the paintings: 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, being visually published in the 1980s classical-style office building in the City of London.

What memorable responses have you had to your work? Do they influence your work and process in anyway?

‘The panel very much enjoyed your proposal and presentation and thought there were a lot of interesting possibilities that may emerge from your works,’ when I presented my calligraphic painting on the wall to the panel of judges at Royal College of Art. I thought of the abundances of ‘interesting possibilities’, which it gave me great confidences to continue exploring the ideas, concepts and ‘drama’ embedded in Chinese calligraphy.

What have you been up to in the last five years?

I started making realistic plan to become a painter. I spent time to create a fine art portfolio for the application of fine art program at Royal College of Art. I was lucky to be accepted into the 12months program –  Master of Research in Fine Art & Humanities. The program has secured and encouraged me to continue developing my initiative in calligraphic paintings to become career reality.

Where do you create your work?

I made most of the paintings in the studio and occasionally outdoor: garden. I prefer to work indoor so the unpredictable climate does not affect me and the outcome of my paintings too much. However, I do make paintings of the flowers in the garden, especially in the full-bloom garden at home, I tried to capture the beauty before it is gone… 

What excites you about showcasing your artwork through ARTful and in a more corporate environment?

It is exciting to showcasing my paintings at Vintners Place, introduced by ARTful, London and I am confident with the curator for her taking the lead of proposing my works to the venue and orchestrating professional guided tour to potential buyers and journalists. I am hoping this will be a successful yet profitable show at this corporate environment.

The exhibition will run until May 10th 2020 at 68 Upper Thames St, Queenhithe, London EC4V 2AF. All original work on show is available to purchase as well as prints. For further information or to arrange an appointment to view contact info@artful.org.uk or call 0208 702 8030.