Howard Chen

Red Appeal
Thumbtack on Canvas, 150 cm

USD 13,500

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About the artwork

CSG 136 ( JZ ) For many years, Chen has used thumbtacks en masse as his chosen form of media, creating a varied perception of the work through displacement and the optics of the arrangement within the space. Chen saw the use of thumbtacks to be a highly personalized material for predestine. Chen uses a nail gun, which allows him to use up to hundreds of thousands of mosquito nails (headless metal pins) for each of his masterpieces. He shoots them one by one into white canvases stretched over wooden boards, creating reproductions of traditional Chinese ink paintings. Chen aims to create a poetic sea of tacks or a physical scene with lights and shadows behaving strangely. In form, using the construction of points, lines, and faces as the basis of the phenomenon, through optics and the sight of the viewer or position changing, the reading of the work can be completed. It expresses a minimalist aesthetic when viewed as an entity. However, each area viewed independently has the ability to convey a "complex visual texture".



About the artist

Born in 1971 in Nantou, Taiwan, Howard Chen graduated with a Bachelors in Arts from the National Institute of Arts, Taipei and got his master degree from the Graduate Institute of Plastic Arts, Tainan National University of the Arts in 1998. Chen's works have been displayed at exhibitions in USA, UK, Korea, Bangkok and Taipei. Chen also had solo exhibitions in 2001, 2002, 2006 and 2007 in Taiwan and has received several awards for his art.

For many years, Chen has used thumbtacks en masse as his chosen form of media, creating a varied perception of the work through displacement and the optics of the arrangement within the space. Chen saw the use of thumbtacks to be a highly personalized material for predestine. Chen uses a nail gun, which allows him to use up to hundreds of thousands of mosquito nails (headless metal pins) for each of his masterpieces. He shoots them one by one into white canvases stretched over wooden boards, creating reproductions of traditional Chinese ink paintings. Chen aims to create a poetic sea of tacks or a physical scene with lights and shadows behaving strangely. In form, using the construction of points, lines, and faces as the basis of the phenomenon, through optics and the sight of the viewer or position changing, the reading of the work can be completed. It expresses a minimalist aesthetic when viewed as an entity. However, each area viewed independently has the ability to convey a "complex visual texture". 

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