Photo by Klaus REINELT


Born in China in 1955, SHEN Chen is a New York-based artist. In 1988, he came to the United States on a fellowship as artist in residence at the Skowhegan School of Painting and Sculpture. He continued his studies at Boston University on an MFA scholarship the following year.  He has lived in New York since1991.  In the 1980s, Chen was one of China’s pioneers of Chinese abstract painting and experimental ink painting. He was an active member of “Art Salon” (an underground art movement). He held his first solo show in 1984 at the China Journalist Society in Beijing, collaborating with galleries in Asia, Europe and America for more than 30 solo exhibitions, and has continued showing his work in China and abroad at venues including the National Art Museum of China (NAMOC), Roma Academy of Fine Arts, Today Art Museum, Nantong Museum of Art, Queens Museum of Art, Museum of Chinese in America, Ming Yuan Museum of Art, Singer Museum of Art, Bochum Museum, Kunsthalle Recklinghausen, Museum Hurrle Durbach and ME Collection Berlin… His works were in the collections of Museums and art foundations as well as many privates. 


藝術家,1955年出生於中國,現居住和工作于紐約和上海。 1988年獲斯考海根藝術學院獎金作為駐校藝術家赴美。次年獲全獎赴波士頓大學攻讀碩士學位。 1991年起定居紐約。 沈忱為80年代中國抽象繪畫和實驗水墨的先行者之一,並活躍於當時的“地下藝術沙龍”。 1984年,他在北京中國記者協會舉辦了第一次個人展覽。從此他開始與亞洲及歐美多家畫廊合作,至今已舉辦了三十多處個人展覽,作品展出在世界各地美術館,其中包括中國美術館,羅馬美術學院,今日美術館,昆斯美術館,明園美術館,美國華人博物館,辛格美術館,瑞克琳豪森美術館,波弘美術館,杜爾巴赫美術館,和柏林ME美術館等。作品被世界各地多家美術館,藝術基金會及私人收藏。 


About The Paintings

Overlaying of strokes is an action of negating.  I cover paint with paint in order for a painting to dissolute the painting itself. The more the number of strokes is laid, the further the negation is made.  Such dissolution is a long process that involves time and order, stretching from the beginning to the end.  Layers of stroke and paint eventually realize the space and a psychological third dimension.  Through the very intimate process of stroke-laying the artist thereby enters a void and dismisses all thinking activities.  Such reflection of the inner spirit is a poem of stream of consciousness.  The strokes as artworks are but the remainder of the process and the trace of time and spirit.  The canvas exemplifies nothingness and emptiness, like a magnetic field of soul releasing the impact of emptiness. I do not practice Zen.  I paint with pure mind and feel amidst peace.  Neither abstraction, nor minimalism, such is but my conceptualization of art.  And grey, just as the tone of my work, best depicts my style.  It is ambiguous, enchanting while uncertain.  Through the stroke I find my spiritual anchor and the ink my cultural indulgence.  I start with but go beyond ink painting.  It serves as aesthetic reference and artistic methodology rather than a “cultural association”.  Essentially, it is the realization and outflow of the spirit of the artist himself.

The Impact of Emptiness, SHEN Chen  


一次次筆觸的重疊把前面一次次的筆觸加以覆蓋,否定,讓繪畫消解於繪畫本身。畫得越多,否定得越多。這種消解是一個很長的過程,包含了時間,秩序,由開始到完成。先後的筆觸和前後的層次,又體現出空間,還有一種心理的三維。這個過程是藝術家創作的最私密狀態,進入空虛,忘卻思想。內在的精神關照,猶如詩歌意識。作品,是整個消解過程留下的筆觸,時間和精神的痕跡。畫面是“虛無”,或 “空洞”。它像一個靈魂的磁場,放射著一種“空洞的力量”。我不修禪,無望“禪的修煉”,只是淨心地作畫,靜心地去體悟。這是關於 繪畫的觀念,既不 “抽象”,也不 “極限”,我的作品風格,就像作品的色彩,灰色。曖昧。令人著迷而又不確定性。對筆觸的精神崇尚,對墨色的文化淘怡。我的創作起步水墨,又跨越水墨。但這並不給我的作品以特定的“文化暗示”。作為一種純粹的藝術實踐的美學指涉,更傾向藝術家個人精神的弘揚和放射。