PRINTILLUSTRATED:
Journal of Strawberry Generation , Aki Gallery, Taipei, 2009, color illustrated, pp. 118-119
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The Beauty Ode 5
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2009 Oil on canvas 145 x 145 cm Signed on the reverse Lo Chan Peng in Chinese and English, dated 2009 |
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Estimate
160,000 - 240,000 648,000 - 972,000 20,600 - 30,900
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Sold Price
288,000 1,152,000 37,161
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ILLUSTRATED:
Journal of Strawberry Generation , Aki Gallery, Taipei, 2009, color illustrated, pp. 118-119
Catalogue Note:
Chan Peng was born in Chiayi, Taiwan in 1983. His parents separated when he was very young, and Lo grew up in a single-parent family; painting gave him comfort and strengthened his sense of self. Lo began to study art on a formal basis in high school, and in 2005 secured admission to the Western Painting Section of the Fine Arts Department, Chinese Culture University in Taipei. Having to work part-time in order to pay his tuition fees, “I was constantly anxious and stressed.” After completing his undergraduate degree, Lo entered the Western Painting Section of the Graduate School of Fine Arts, National Taiwan Normal University.
After a period in which his life was somewhat rootless and chaotic, Lo Chan Peng settled in Tanshui. His workshop in the Hsia-kuei-shan district of Tanshui was located in a disused factory. The dilapidated, damp old building was a breeding ground for mosquitoes, which often got themselves stuck on his canvases as they flew around. For a painter such as Lo, who strove for great attention to detail in his work, this was a serious source of disruption. In this challenging environment, Lo expressed his frustrations in his “The Beauty Ode” series of paintings. This particular painting, forming part of the “The Beauty Ode” series, features large, sweeping brushstrokes which seem to embody the artist’s internal sense of anger and frustration; one can almost imagine Lo swiping at the mosquitoes with his brush as he painted.
In “The Beauty Ode 5” Lo Chan Peng makes use of the classical glazing technique, employing multiple layers of translucent paint; over an extended period of painting and retouching, Lo has given the subject its own highly subjective expression, combined with totemic symbols, which together bring across the way in which the bright, gaudy appearance of the members of Taiwan’s “Strawberry Generation” hides feelings of helplessness, joy, fear, jealousy, anger, love and hate.
After a period in which his life was somewhat rootless and chaotic, Lo Chan Peng settled in Tanshui. His workshop in the Hsia-kuei-shan district of Tanshui was located in a disused factory. The dilapidated, damp old building was a breeding ground for mosquitoes, which often got themselves stuck on his canvases as they flew around. For a painter such as Lo, who strove for great attention to detail in his work, this was a serious source of disruption. In this challenging environment, Lo expressed his frustrations in his “The Beauty Ode” series of paintings. This particular painting, forming part of the “The Beauty Ode” series, features large, sweeping brushstrokes which seem to embody the artist’s internal sense of anger and frustration; one can almost imagine Lo swiping at the mosquitoes with his brush as he painted.
In “The Beauty Ode 5” Lo Chan Peng makes use of the classical glazing technique, employing multiple layers of translucent paint; over an extended period of painting and retouching, Lo has given the subject its own highly subjective expression, combined with totemic symbols, which together bring across the way in which the bright, gaudy appearance of the members of Taiwan’s “Strawberry Generation” hides feelings of helplessness, joy, fear, jealousy, anger, love and hate.