「心即韻」2019 陳張莉個展 Inner Rhyme- Jenny Chen Solo Exhibition

Music carries a unique force that can ease the mind at once
and injects excitement into one's being the next moment.

1 15
音 樂 能 量 空 間 隨 心 轉
The Energy of Music
Space Transformed by the Mind
Sound carries a penetrating power that allows it to easily stay in our mind through
the sense of hearing, unlike painting that one must go closer to it in order to
perceive its presence. So, the odds are higher for people to hear sounds (music) and
feel touched than seeing visual artworks.
Music has provided me a tremendous energy and much inspiration in art-making.
Dissimilar music brings out the varying rhythmic vitality in my work. It could be
smooth and overflowing, like Schubert's or Mozart's works; it could be pompous and
majestic, like that of Wagner or Mahler; or it might be exotic, informed by romantic
sentiments, like how Puccini's works make people feel. I have dived into the music of
these composers and glimpsed into their wonderful and unfathomable worlds.
Music carries a unique force that can ease the mind at once and injects excitement
into one's being the next moment. It transports people to different scenarios and
spaces far away from reality for a brief period of time.
For this very reason, music has always been a good friend in the making of my art.

The moment your body can stay balanced and dance
the way you want is the moment
you start to know your own body.

17 31
舞 蹈 舞 姿 身 體 認 識 論
Dancing Postures and Movements
An Epistemology of the Body
From a careless student to an enthusiastic dancer, learning the expressive language
of dance has been a huge challenge for me. At first, I was superficial in thinking
that dancing was just simply moving one's body to music. However, as the dances
we were learning became more advanced, perseverance and endurance became
necessary in addition to a solid set of basic skills so that taking on a higher level of
challenges could be possible.
The moment your body can stay balanced and dance the way you want is the
moment you start to know your own body. For me personally, it is a truly
intriguing experience of self-awareness. The more you can master physical balance,
skills and aesthetics, the closer you are to perform the postures and movements
pictured in mind. This is, as a matter of fact, quite similar to the process of artmaking.
The results are predictable by observing the process; and the process has
always been the more important and most enjoyable part for me.
At the same time, this truth about keeping balance can also be applied to our
journey of life. It tells us that there is no need to pursue something excessively, that
everything we do is to achieve this balance. Simple as that.

Art has accompanied me to take a small step in my physical life,
but formed the giant leap of my life in eternity.

33 47
生 命 經 歷 人 生 不 留 白
Accumulating Experiences
No Blank Pages in Life
What matters in life is not its length but its depth.
I have always been a strong-willed, competitive person ever since I was young,
and I am constantly curious about and eager to explore the surrounding as well
as life itself. Such tendency has contributed greatly to my independent character.
My fascination with new things has also brought me to continuously observe the
never-ending changes in different fields, allowing me to see myself as a student
always learning new things. This state of mind echoes Steve Job's well-known
words, "Stay hungry." It is precisely because of this life attitude that I have always
embraced the positive energies in life.
Art came into my life due to coincidences. Although we "became friends" at a
relatively late stage of my life, it has undoubtedly substantiated, enriched and
painted my days with unending surprises, empowering me to take a giant leap
intellectually. I have come to understand that life is not measured by its length but
its profound depth. Although the briefness of life is lamentable, death nevertheless
perishes in the face of eternity; and art represents the invisible eternity because of
the metaphysical and everlasting spirituality it embodies. These qualities form the
key to awaken the deep and pure mind of humanity.
Art has accompanied me to take a small step in my physical life, but formed the
giant leap of my life in eternity.

Even watching pedestrians on the streets is a pure enjoyment.
Every day is a new discovery.

49 61
紐 約 生 活 亂 中 卻 有 序
Life in NYCAn Orderly Mess
Every day is a new discovery
Years ago, I overcame all difficulties to go studying in New York with high
expectations. Little did I know that what greeted me would be walls covered by
graffiti, garbage-filled streets and worn-out desks and chairs in classrooms. Apart
from the gap between my expectations and the reality, I was also utterly confused
when seeing usable furniture and things for everyday use left on the streets. It was
not until later that I found out about this "from the streets to one's living room"
practice was not a habit of waste in this diverse and bustling metropolis, but a
considerate, practical idea that "things I do not need might be useful to others."
The realization was indeed the start when I gradually grew accustomed to and
understood this city's unique culture. Until today, there are still many items in my
studio picked up from those "street scavenger hunts" back then.
Individualism is highly valued in New York City. People usually mind their own
business and go their own ways without paying much attention to each other.
However, as long as circumstances allow, friends still enjoy the time of gathering
together. As the melting pot of the world, the city not only possesses a diversified
visual culture but is also home to a wide range of ethnic groups speaking different
"Englishes" with foreign accents. It makes individuals from different ethnic
minorities feel included. It is this sense of freedom to be oneself that makes people
living this city feel confident and at ease.
The ample culture and arts as well as the modern and historic buildings in
New York is ever-nourishing. There are always life experiences to see, hear,
taste and feel. In this city, I enjoy doing my favorite things independently, like
seeing a movie, an opera, a performance or an art exhibition. The environment
of the Big Apple allows me to perfectly enjoy my solitude while keeping a
genuine sense of existence.
Even watching pedestrians on the streets is a pure enjoyment. Every day is a
new discovery.
Therefore, it is not an exaggeration when I say that the second half of my life is
shaped by NYC.

陳 張 莉 的 粹 煉 之 路
讓 靈 魂 備 感 崇 高
-
6070
1996
1987
Pratt
Pratt SoHo
de Kooning Motherwell

1960
8090
Art InformelAction
PaintingAbstract Expressionism
Sigmar PolkeAnselm
KieferGerhard Richter
2019
Organic orange
Arylide yellow Permanent green light

mercy ,
Gerhard Richter
Art is the highest
form of hope, Kassel 1982
Art Informel
2010

The Refining and Forging
Journey of Jenny Chen
Sublimates the Soul
Text
-
Rita Chang
Jenny Chen and her paintings have a mutually reciprocal relationship. She is the "mother" of
her paintings, yet she has also perceived the truth of life through the creation of her works.
I did not have any preconceptions when I first met Jenny. Truth be told, I was not even
aware that she was a painter at the time. Most people, including me, knew her and talked
about her due to her family and voice. Back then, Jenny's talking voice is pleasing to the
ears, and she speaks with an infectious enthusiasm; however, when her words are matched
with musical notes, her voice unexpectedly became low and magnetic, with a hint of sexy
allure. Her preference of Western songs from the 60s and 70s is also the reason why she has
a good grasp of the English language.
de Kooning, Robert Motherwell and other artists), conceptual art, performance art and
pop art were flourishing during that time whereas realism (photorealism, to be exact)
was popular as well. Ever since that period in history, New York has always been the
origin of innovative art trends and movements; but it is not necessary to go into details
here. However, one thing that is worth mentioning is that Chinese artists started visiting
or moving to the US or Europe at the end of the 1960s. Naturally, before she went to
New York, Jenny was already familiar with these abstract painting styles and techniques.
Therefore, apart from equipping herself with needed painting skills, she already set her
mind to explore abstract art; and she was determined to do so in New York, the world
capital of art.
The first time I got a glimpse into Jenny's inner world, however, was not from her singing;
it was in her solo exhibition at Jia Art Gallery in 1996. I was surprised and attracted by the
unrestrained use of colors and the momentum coursing through the work in an automatic
manner, so much so that I bought the first ever acrylic painting in my life. The piece cost four
months of my salary, but it was worthy because I felt that I had peeked into her soul through
the painting while perceiving the agitation in my own soul. I only found out later that it
was one of her very early exhibitions when she was like a female warrior, fully concentrated,
armor-clad and utterly determined on her quest of becoming a professional artist.
The solo exhibition I visited at that time showed the results from her ten years of life in
New York. It was in 1987 that Jenny became a New Yorker. Her desire to become an artist
had drowned other things in life; so, she negotiated with her family, enrolled at Pratt
Institute and received her degree. Meanwhile, she also rented a studio space in SoHo,
Manhattan, and settled down by herself amidst the bustling city of New York. Living as an
unknown artist in this well-known city, Jenny began her journey of exploring abstract art,
in which she was able to thoroughly observe how artistic energies had evolved throughout
history into linear forms and colorful compositions while pursuing the sense of resonance
in her inner world.
After the end of WWII, New York became the central hub of contemporary art, where
intellectuals and artists immigrated from Europe introduced groundbreaking concepts
and works. In addition to Jenny's favorite Abstract Expressionism (heralded by Willem
When in New York, Jenny not only took necessary courses, but also spent her time to
efficiently expand her horizon and mind, systematically visiting a wide range of art and
exhibition venues in the city to establish her very own philosophical system of abstract
art and taking in what other artists of the 80s and 90s had to offer, be it those that were
one-time guest to the city or those that made regular appearances. Jenny has always been
sensitive to the outside world and never gives up easily. Her personality is why she can
be so determined to become a professional artist. Along her exploration of abstract art,
there are many modern artists that have had an impact on her. Artists of Art Informel,
Action Painting and Abstract Expressionism are all dear to her heart. Those that have
profound influences on her work also include Sigmar Polke, Anselm Kiefer and Gerhard
Richter. These artists re-evaluated the value of "matter" or "material," and came to the
conclusion that it should not simply be what constituted an artwork but also the purpose
of it. They experimented with a variety of material effects, including splashing, cracking,
piling, layering, creating crevices and dripping. By surrendering the creative freedom to
the material, these artists found a spiritual outlet in random occurrences, and redefined
artworks as objects that possessed inherent beauty or a sense of sublime in themselves.
Finally, Jenny decided to stop relying on realist techniques like many painters did. In the
non-stop flow of exhibitions in New York, she discovered the driving force behind her
own art-making, which, in turn, became an anchor for her life and heart in the seemingly
boundless city.
Amidst the urban restlessness that informed the environment, Jenny gradually caught

up with the pace of life. She now had a studio and a home in the city, and her daily
creative work was completed through maintaining a detached rhythm. However, she
was simultaneously open to and absorbent of what New York could offer. In ample
concerts and music performances happening in the city, she discovered something she
could resonate with and a correspondence between the abstract expression of music and
her abstract painting. The hefty, majestic Wagnerian operas (Der Ring des Nibelungen in
particular) was her favorite. Nurtured by the unique, lush cultural environment of New
York, Jenny's abstract expressions surfaced as vibrantly diverse and rich. They seemed to
echo the artist's self, her personality and life that have always been characterized by two
sides that are "worldly and experienced" and "innocent and unrestrained" and have been
posited between two opposites that can be described as "strong-willed and unyielding" and
"changeable and sentimental." Consequently, her works sometimes could exude a sense of
desolation and solitude, but could also be splendid and sumptuous at other times.
In his well-known book, The Structure of Iki, Japanese philosopher Shuzo Kuki proposes the
concept of "iki" as the ultimate realm of beauty. A person that can match the definition of
"iki" must meet the following three criteria. Firstly, the person must be physically appealing
and very charming. Secondly, the person must have an unyielding character. Thirdly, the
person must have undergone an experience that would have been heart-breaking. Only
the combination of these three criteria could render a person sophisticatedly experienced,
nonconforming to conventionality and spiritually emancipated.
In a way, Jenny's life has always matched the definition of "iki." She is naturally attractive
with a charismatic personality. She has been able to develop and balance her talents and
self-discipline well. What supports her vibrant works has always been her promise to herself
to accomplish her goals without excuses. Artistic creation is a lifelong devotion for her
rather than a pastime for leisurely hours.
Her independent life and her soul that could not be confined validate her unyielding
character as a female artist. Moreover, she underwent three unbearable traumas in her life.
She fought two tremendous battles against cancer and suffered a fire that burned many
of her works to ashes. These factors and experiences in life have qualified her of being
described as "iki." Today, like what Shuzo Kuki describes, she has stared death in the face,
traversed the valley of despair and has become refined, sophisticated, unique and free after
the rebirth. This solo exhibition at Double Square Gallery, therefore, can be viewed as a
comprehensive and large-scale show of rebirth after the disastrous fire.
In April 2019, Jenny's abstract acrylic painting series created with semi-automatic
techniques can be viewed in the perfect, white box space of Double Square Gallery. The
series is a straightforward revelation of the value that is the core of abstract art: transcending
material appearances and celebrating spirituality.
These abstract paintings are in four different sizes, but all completed primarily with three
colors, which are Organic Orange, Arylide Yellow and Permanent Green Light, and a
limited use of other few colors. Furthermore, the creative process of the paintings was not
entirely random and spontaneous; instead, they were results of procedures created by the
artist herself and accumulated time. From the appearance, the images look like ensembles
of highly free-flowing colors or color blocks; as a matter of fact, they have been elaborately
experimented and thoroughly thought through. In order to find new shapes and rhythm,
Jenny has used rather intense colors in this series while also confining the richness of the
palette by removing certain color systems. Consequently, these strong and contrasting
colors are used side by side on the canvas, and each compelling color forms a "relation"
with another. The artist, on the other hand, has restrained herself by minimizing the use of
brushstrokes, concealing her actions in the fluid colors or coagulated texture to usher in a
newly formed expression of her spiritual state.
Following her beloved art masters, Jenny has steadfastly intensified the forces in the images.
One is reminded of Gerhard Richter's comparison of his work to the process of approaching
God, which for the artist, is similar to the symbol of the universe or the miraculous revelation
of the Divine. Richter once said, "Art is the highest form of hope" (Kassel, 1982). In the
history of art, the pursuit of a similar expression can also be observed in the delineation of
nature's spectacles and the sense of infiniteness they manifest, or in the sublime feeling in
depicting the endless continuation of time. In the 20th century, we have once again witnessed
a quest of such spiritual height in the works of Art Informel and Abstract Expressionism.
Jenny's paintings on view in this exhibition have inherited such a quest. Surprisingly enough,
her works reveal extremely irregular and coagulated paint of colors intermixing or contrasting

with each other. Therefore, the images look like moments right before an explosion that
would shatter or fragmentize everything; it is as if the colors were coagulating at this second
but would soon be succeeded by something completely different and unexpected. The effect
demonstrated by such images differ greatly from that of her previous works, in which she
portrays a boundless, distant, indistinct and nameless realm. In 2010, she exhibited a series of
painting at Kuandu Museum of Fine Arts as well as many art galleries. The series was mainly
in black and white and created an immaculate world with a sense of continuity between each
painting. The artist also used resin to bring about the ethereal, elusive beauty emblematic
of Eastern aesthetics. Unfortunately, the painting series was destroyed in the ruthless fire, a
definite blow that brought excruciating pain to the artist. However, coming back from such
a traumatic experience, Jenny gives her audience a new body of work in a totally dissimilar
style. Replacing fluidness with coagulation, disintegration with tension, embrace with
confrontation, and compromise with an iron will, these works of her rebirth embody her
unyielding character and forged spirit.
that the artist has skillfully created with automatic techniques. Let the paintings reflect
the collisions in the mind, and share the joy or energy of the artist's rebirth. Search for the
concrete material qualities in the abstract. Then, add music for it to feel the image flow
over the walls; and finally, be immersed in the joy of resonating with the art.
You would then believe me for sure! Jenny's refining and forging journey indeed sublimates
the soul.
When viewing these separate paintings that each presents an explosive space of its own, I
could not help but wondering how large the walls should be to match the intensity in every
painting. After arriving at Double Square Gallery, I realized that each one of the paintings
(big or small) would be more than sufficient to "illuminate" an entire wall. The paintings
reveal images reminiscent of Earth's tectonic plates crashing into each other, of the seasonal
ambivalence when summer is transitioning into autumn, of the suspending pause between
the last note of the overture and the first singing sound in Wagnerian operas. If one
carefully reads and delves into the expansive spaces created by Jenny, one might also notice
that there are many subtle "buffer zones" between the colliding tectonic plates, which
reveal her feminine touch as she embeds interstices amidst confrontations and introduces
possibilities for outreaching, (r)evolving and integrating. The liquidness in the works
softens the coagulated paint, anticipating the female mercy while rejuvenating the artist,
who is now qualified to be described as "iki" with fresh energies.
To view this body of work in the white box space of Double Square Gallery, let us be
reminded to face and view every single painting with heart and eyes instead of simply
skimming over the entire exhibition. One should first focus on the white wall with the
painting until it fills the eyes before appreciating the context of each work and the texture

藝 術 就 是
關 於 世 間 所 有 的 事 情
-
2019
Carl Jung

2019

Art Includes Everything
in the World
Text
-
Sean C.S. Hu
Mind is like an artist, able to paint the worlds.Avatamsaka Sutra
When viewing Jenny Chen's 2019 solo exhibition, it was hard to associate these rather
large abstract paintings, displaying rich and vibrant colors, vivid texture and layers with
a distinct sense of fluidity, temporality, musicality and rhythm, with their petite female
creator. Undeniably, such a direct deduction derives from one's stereotypical impression of
the human body and gender. Intuitively speaking, the grand structure of these paintings
indeed reflects the artist's inner strength and will power; however, it has anything to do
with one's gender and physicality. Instead, it is the full embodiment of one's spiritual and
life journey.
In the boundless internet cosmos, the way modern people know and understand their
material environment is gradually becoming more fragmentized, image-oriented and lack
of depth. Consequently, the world perceived by people is becoming deformed, distorted
and disrupted. When our perception of the surrounding world is overridden by virtuality
that is superficial and fragmented, how does one carry a more perceptive life and rediscover
the perceptual experiences to sustain one's value of existence that was once sacred and
noble? We believe artistic creation can be a powerful appeal to sensibility as well as a strong
force to resist the drastic changes that are taking place in our time, even if it might seem
useless, slow and ambiguous from a functionalistic point of view.
Jenny's work has always demonstrated such a still poise and affecting force; especially
amidst the waves and trends in the present-day art scene, which emphasizes on knowledge
production, a low aesthetic tendency, informatization and issue-orientedness, the artist's
career of abstract art spanning more than three decades has taken a non-mainstream stand,
seemingly observing the evolving art ecology from the outskirt of the central art scene while
keeping a certain distance and a sense of detachedness from the mainstream art circle. This
result, however, comes from her determined choices in aesthetic creation, life exploration
and philosophical thinking, which are reminiscent of the philosophical statement of
"Loud is its sound, but no word uttered. The great form embodies no shape."a perfect
description of art's role in this boisterous time.
Abstraction as Realistic Representation of
Psychological Landscape and Life Experience
Swiss psychiatrist Carl Jung once defined abstraction as the sum of four functions and
processes of the psyche, which include perception, intuition, feeling and thinking. This
viewpoint can be applied to the understanding of Jenny's creative method. For the artist,
the choice of employing the creative vocabulary of abstract expression is not to take the
opposite stand of the figurative art. Moreover, the so-called abstract is not necessarily absent
from real life or merely present in perceptual experiences indescribable by verbal languages.
Abstract painting evokes thoughts, emotions, memories or feelings one has experienced
before; and at the same time, artistic creation resembles an outlet for an artist to express
and complete his or her personal life.
Similar to Jenny's own words, "art includes everything in the world," this so-called
"experience of the world" is different from figurative expression and is more complex and
diversified accumulation of life and internalization of experiences. Combining the extensive
training of painting techniques and the precise control of her body, the artist is capable of
intuitively grasp her depth of emotions as well as the repetitive process of dialectic thinking
before converting them into the images on the canvases. The final results, therefore,
transcend what spoken languages can express and the direct visual perception. In other
words, what an abstract painting honors and reveals is truly the realistic representation
of the artist's mental imagery – the "innerscape," if you will – and the truthful records of
everything that has taken place in her life. As spectators, we might undergo a heterogeneous
experience when viewing the work due to different and limited individual life experiences;
nonetheless, it is precisely this factor of ambiguity stemmed from such disparities that the
meaning and imaginative space of art are largely expanded.
Art as an Agent for Philosophical Thinking
Jenny has always been naturally curious and adventurous in life. More than thirty years ago,
in order to achieve her goal of art practice while balancing her need of self-realization and

family responsibilities, she embarked on a glorious adventure of pursuing dreams in New
York and periodically travelling back and forth between two countries. Her open attitude
towards the outside world and her acceptance of what her personal life might bring, along
with the lessons, frustrations, failures, illnesses, joys and achievements along the journey,
have extensively widened her outlook on life and wisdom as an artist.
Viewing Jenny's paintings can be compared to going through a philosophical discussion
or an enlightening Zen Buddhist lecture. As the questioning put forth by the form of
her works, if abstract expression is indeed realistic representation of one's inner spirit,
the dream-like, fantasy-inducing, illusory and fleeting visual structures and vocabularies
constituted by the paint can be viewed as embodiments of the intertextual relation between
the real (the inner spirit) and the unreal (the form of image)that is to say, when it comes
to the seemingly realistic appearances of the real life, how can one be absolutely sure of
their authenticity and that they are not possibly unreal? The philosophical questioning and
debate prompted by the form of her work also illustrate the artist's philosophical mind
and attitude towards life: "All causes and effects, the worlds as many as atoms of universe,
take on substance because of the heart." All is created by the heart, and art is the extension
of the artist's heart and mind in this physical world. Through the blurry, ambiguous and
undefinable elements in the composition of the works and from the external manifestations
that look unrelated, her paintings seek to communicate with spectators through certain
intuitive or collective experiences, which form the characteristic factor that can broaden the
spectators' imagination and enable them to gradually comprehend or restore the evoked life
experiences through the works.
created through applying engineering mechanics, which not simply involves structural
design, safety issue and functionality but also includes the expression of creativity and the
affective impact on and communication with users of a space.
The creative approach that Jenny has adopted to create this body of works in 2019
originated from limited choices. Using warm colors like Organic Orange and Arylide
Yellow as well as the color of Permanent Green Light to form the basis of her expression
and likely employing her years of training in dance, the artist was able to work within an
extremely confined space and demonstrate her mind's incredible mastery of her body by
letting the colors to automatically flow, pile up, stand still, merge, penetrate and solidify
on canvases. Conflict, opposition, contradiction and struggle in the structure of the images
were then created through the rhythmic movements of the body, giving birth to diverse
layers and textures and unfolding remarkably splendid landscape of a spectacular palette
in front of the spectators' eyes. Within the dichotomous framework of the mind that
constantly balances rationality and sensibility, self-discipline and freedom, imagination and
realization as well as construction and deconstruction, the creative approach allowed the
artist to gradually build the surface intensity and enrich the iridescent spectra that filled
both ends of the scale through her repeated self-debate and non-stop experimentation until
a full balance between the body, mind and soul was reached; and only until this point, a
work could be deemed completed. This entire process is like a brilliant dancer performing
her superb command of the body and displaying her extraordinary dance techniques.
Conclusion
Infinite Possibilities Created with Finite Means
It is generally believed that the automatic techniques used in abstract painting is an utterly
free and spontaneous action of the body during the creative process. This idea, in fact, is an
understatement that often overlooks the unimaginably complicated decision-making and
executing process behind the seemingly lyrical, tension-informed images. A similar case can
be found in the harmony of architecture that is the manifestation of architectural aesthetics
Although it is indeed like Jenny has said, "the final result of a work eventually boils
down to the overall balance between the image structure and the expression of its colors
and materials," what this balance reflects in this case is the artist's precise mastery and
accurate judgment made possible by her life journey and accumulated wisdom, which have
sustained every moment of the creative process so that the amalgamation of the emotional
appeal on the outside and the conflicting structure of the inside can be supported.
Therefore, the only way to ensure an ever-flowing inspiration and creation is to enrich

one's inner life; it is similar to using complicated architecture structures to give support to
aesthetic façades. Both aim to create infinite possibilities with finite elements. Indeed, it is a
steadfastly challenging journey as life can be overwhelmed by self-denials, doubts, thoughts
of giving up when frustrating circumstances occur. However, the constantly emerging sense
of absurdity in the production of art –the absurdity that is inherent in life–is precisely the
most treasured process in Jenny's art-making, and the finalized works have become living
records of all the details throughout the process. With limited colors and finite physicality,
the artist has projected infinite potentiality of art onto her canvas, making vibrant, vivid
energies of life flow from the two-dimensional surface.

1 13 17 29 33 45 49 63
1
C.
J.
Q.
17
33
49
Untitled 2017-03
Mixed media, canvas
30 x 30 cm
2017
Untitled 2017-06
Mixed media, canvas
30 x 30 cm
2017
Untitled 2017-29
Mixed media, canvas
30 x 30 cm
2017
Untitled 2018-51
Mixed media, canvas
30 x 30 cm
2018
2017-13
Mixed media, canvas
122 x 91 cm
2017
2017-11
Mixed media, canvas
152 x 122 cm
2017
2017-01
Mixed media, canvas
198 x 152 cm
2017
3
D.
K.
R.
19
35
51
Untitled 2017-19
Mixed media, canvas
30 x 30 cm
2017
Untitled 2017-08
Mixed media, canvas
30 x 30 cm
2017
Untitled 2017-30
Mixed media, canvas
30 x 30 cm
2017
Untitled 2018-55
Mixed media, canvas
30 x 30 cm
2018
2017-14
Mixed media, canvas
122 x 91 cm
2017
2017-18
Mixed media, canvas
152 x 122 cm
2017
2017-02
Mixed media, canvas
198 x 152 cm
2017
5
E.
L.
11
21
37
53
Untitled 2018-38
Mixed media, canvas
30 x 30 cm
2018
Untitled 2017-10
Mixed media, canvas
30 x 30 cm
2017
Untitled 2018-29
Mixed media, canvas
30 x 30 cm
2018
Untitled 2018-48
Mixed media, canvas
30 x 30 cm
2018
2017-15
Mixed media, canvas
122 x 91 cm
2017
2017-19
Mixed media, canvas
152 x 122 cm
2017
2017-03
Mixed media, canvas
198 x 152 cm
2017
7
F.
M.
13
23
39
55
Untitled 2018-45
Mixed media, canvas
30 x 30 cm
2018
Untitled 2017-15
Mixed media, canvas
30 x 30 cm
2017
Untitled 2018-31
Mixed media, canvas
30 x 30 cm
2018
Untitled 2018-54
Mixed media, canvas
30 x 30 cm
2018
2017-16
Mixed media, canvas
122 x 91 cm
2017
2018-05
Mixed media, canvas
152 x 122 cm
2018
2017-04
Mixed media, canvas
198 x 152 cm
2017
G.
N.
25
41
57
A
G
M
B
H
N
C
I
O
D
J
P
E
K
Q
F
L
R
Untitled 2017-17
Mixed media, canvas
30 x 30 cm
2017
Untitled 2018-36
Mixed media, canvas
30 x 30 cm
2018
2017-17
Mixed media, canvas
122 x 91 cm
2017
2018-06
Mixed media, canvas
152 x 122 cm
2018
2017-05
Mixed media, canvas
198 x 152 cm
2017
A.
H.
O.
27
43
59
Untitled 2017-01
Mixed media, canvas
30 x 30 cm
2017
Untitled 2017-18
Mixed media, canvas
30 x 30 cm
2017
Untitled 2018-44
Mixed media, canvas
30 x 30 cm
2018
2018-01
Mixed media, canvas
122 x 91 cm
2018
2018-07
Mixed media, canvas
152 x 122 cm
2018
2017-10
Mixed media, canvas
198 x 152 cm
2017
B.
I.
P.
29
45
62-63
Untitled 2017-05
Mixed media, canvas
30 x 30 cm
2017
Untitled 2017-27
Mixed media, canvas
30 x 30 cm
2017
Untitled 2018-46
Mixed media, canvas
30 x 30 cm
2018
2018-02
Mixed media, canvas
122 x 91 cm
2018
2018-08
Mixed media, canvas
152 x 122 cm
2018
2018-13 + 2018-14
Mixed media, canvas
198 x 304 cm
2018

1944
1993
2008
1990
Art Taipei 2008
1968
2006
1993
1990
20052005
2019
2004
2016
200364 SARS
2014
1987
2003
1992HLW
2013
2002
2012ISE
2001
1991
MOT ARTS
2016
1990
2011
2015
1989
2010
2000
1988
2009MOT ARTS
40 456
1987
2008
2014 2000
2013
1999
2006
Art Taipei 2013
1998
2005
50
1997
2004
2012
2003
2011Art Taipei 2011
1996
2010
1998
O O
Art Taipei 2010
1996
20092009
1995
1995
1994 456
Yes
1994

Jenny Chen
1944 Born in China
Education
1995 Works by Jenny Chen, Gallery Pierre, Taichung, Taiwan
Art Salon- Chinese Artists in NY, China Institue in America, New York, USA
Summer Invitational Show, Walter Wickiser Gallery, New York, USA
1990 M.F.A. Pratt Institute, New York, USA
1994 From Taoist, Chinese American Council, Gallery 456, New York, USA
Yes - Chinese Contemporary Female Artist Exhibition, Yard Gallery, Shanghai, China
Phenomenon Four, Howard Salon, Taipei, Taiwan
1968 B.A. National Chengchi University, Taipei, Taiwan
From Taoist, Icon Gallery, Seoul, Koran
Journey of Amalgamated Dreams, Art Gate Gallery, New York, USA
1995 The Wonder of Abstract Art in Taiwan, Galerie Pierre, Taichung,Taiwan
1993 The Relationship between Human Being & Nature, Triple A Gallery, Taipei, Taiwan
2008 Deep Breath-Chinese Contemporary Female Artist Exhibition, Shanghai
Tradition & Modernity - Taiwan Contemporary Art Exhibition, Chinese
Solo Exhibitions
The Relationship between Human Being & Nature, Keen Gallery, New York, USA
Creek Art, Shanghai, China
Information & Culture Center, New York, USA; Kaohsiung Museum of
2019 Inner Rhyme - Jenny Chen Solo Exhibition, Double Square Gallery, Taipei, Taiwan
The Relationship between Human Being & Nature, DanDai Gallery, Taichung, Taiwan
Art Taipei 2008, Convention Center, Taipei, Taiwan
Fine Arts, Kaohsiung, Taiwan
2016 Can possibly stay well between Water & Fire?, InArt Gallery, Tainan, Taiwan
1990 Works by Jenny Chen, Taipei Gallery, New York, USA
2006 Female Language, Cork GL, Lincoln Center, New York, USA
1994 The Abstract Paintings by Four Women Artists, Hsiung Shih Gallery, Taipei, Taiwan
2014 Sequence of Living Color, Kalo Gallery, Taipei, Taiwan
Works by Jenny Chen, Pratt Institute, New York, USA
Salon Comparaisons, Grand Palais, Paris, France
Burning, Patrice Landau Gallery, New York, USA
2013 Unfettered Mind, Project Fulfill Art Space, Taipei, Taiwan
Works by Jenny Chen, Howard Salon, Taipei, Taiwan
2005 2005 Extravaganza Exhibition of Modern Art in Taiwan, Kuandu Museum
The Trio, Eslite Gallery, Taipei, Taiwan
2012 Without End, ISE Cultural Foundation, New York, USA
Works by Jenny Chen, D.D.Art Space, Taipei, Taiwan
of Fine Arts, Taipei, Taiwan
1993 Alumnus International, Pratt Institute, New York, USA
Variations of the Tone Poet, MOT ARTS, Taipei, Taiwan
1987 Psychic Space, Taipei American Cultural Center, Taipei, Taiwan
2004 The 19th Annual Asian International Exhibition, Fukuoka, Japan
Contemporary Women Artists in Taiwan, Jia Art Gallery, Taipei, Taiwan
2011 Flowing, Beyond Gallery, Taipei, Taiwan
2003 Discourses on Love: 64 Conversations in SARS' Era, IT Park Gallery, Taipei, Taiwan
The Art of Discovering, Krasdale Gallery, Bronx, New York, USA
2010 Time-Flow - Works by Jenny Chen, Kuandu Museum of Fine Arts, Taipei, Taiwan
Selected Group Exhibitions
Metaphysics 2003 - Abstract Art of China, Shanghai Art Museum, Shanghai, China
Exhibition of Recent Works, Walter Wickiser Gallery, New York, USA
2009 Fluid Exploration, MOT ARTS, Taipei, Taiwan
2016 Unlimited Prints, IT Park Gallery, Taipei, Taiwan
2002 The 17th Annual Asian International Exhibition, Incheon, Koran
We are the Universe, Haenah-Kent Gallery, New York, USA
2008 Jenny Chen: The Beauty of Solitude, Tenri Cultural Institute of New York, USA
2015 Unlimited Prints, IT Park Gallery, Taipei, Taiwan
2001 Abstraction Dialogue, First Bank Gallery, New York, USA
1992 Invitation of Chinese Artists Exhibition, HLW Gallery, New York, USA
Fluid Exploration - Works by Jenny Chen, Taipei Cultural Center, New York, USA
Verge of Art, Da Xiang Art Space, Taichung, Taiwan
Taipei Contemporary Art Exhibition, Shanghai Art Museum, Shanghai,China
Joint Exhibition of the Women Artists Association of Taipei, Taipei Fine
Reemerge Black & White, Art Center of Chung Yuan University, Chungli, Taiwan
THE MOMENT at 456/CACC: After 40 years, 456 Gallery, New York, USA
Female Perception of Contemporary Taiwanese Art, Main Trend Gallery, Taipei, Taiwan
Arts Museum, Taipei, Taiwan
2006 Weaving Across Black and White, Art Center of Providence University,
2014 The 28th Annual Asian International Exhibition, Taiwan. since 2000
2000 Pacific Rim 11: The Fat East, Gallery Terrain, San Francisco, USA
1991 The Dialogue between Women Artists and Contemporary Art, Dimension
Taichung, Taiwan
2013 Majestic Island - The Development of Modern Art in Taiwan (1911-2011),
The 15th Annual Asian International Exhibition, Tainan Culture Center
Gallery, Taipei, Taiwan
2005 Representation of Phenomenon-Huang Shan Experience, IT Park Gallery,
National Art Museum of China, Beijing and China Art Museum, Shanghai, China
Tainan, Taiwan
1990 Contemporary Drawing Exhibition, Eslite Gallery, Taipei, Taiwan
Taipei, Taiwan.
Art Taipei 2013, Convention Center, Taipei, Taiwan
The Exhibition of Three Women Artists, La Galerie Internationale Expression
1989 The 16th Annual Art Competition, Taipei Fine Arts Museum, Taipei, Taiwan
2004 Dawn? Dusk? Video Installation, Huashan Creative Cultural Center, Taipei, Taiwan
A Retrospective: 50 Years of Modern Painting in Taiwan, Arki Gallery, Taipei, Taiwan
Libre, Paris, France
1988 Media, Environment, Installation, Taiwan Museum of Fine Arts, Taichung, Taiwan
2003 Representation of Phenomenon - Paintings by Jenny Chen, Main Trend
2012 Landscape Abstract Paintings, Stephan Stoyanov Gallery, New York, USA
1999 Taiwanese File, Art Center of City Hall, Casa de Los Morlanes, Zaragoza, Spain
1987 Experimental Art - Action and Space, Taipei Fine Arts Museum, Taipei, Taiwan
Gallery, Taipei, Taiwan
2011 Art Taipei 2011, Convention Center, Taipei, Taiwan
Magnetic Writing/Marching Ideas Works on Paper, IT Park Gallery, Taipei, Taiwan
Representation of Phenomenon - Paintings by Jenny Chen, Shanghai Art
2010 The 7th International Ink Art Biennale of Shenzhen, Guan Shanyue Art
1998 Overseas Chinese Artists Exhibition, Galerie Pierre, Taichung, Taiwan
Public Collections
Museum, Shanghai, China
Museum, Shenzhen, China
1997 Summer Invitational Show, Walter Wickiser Gallery, New York, USA
Taipei Fine Arts Museum, Taiwan
1998 Peace in Mind, Space Untitled, New York, USA
80's New York, 10's Taiwan, Star Crystal Gallery, Taipei, Taiwan
Consistency & Continuation, Galerie Pierre, Taichung, Taiwan
Pratt Institute, USA
Peace in Mind, Hanart Gallery, Taipei, Taiwan
New landscape - Ink Painting in Motion, Nou Gallery, Taipei, Taiwan
1996 Pacific Artists in New York, New York, USA
Kaohsiung Museum of Fine Arts, Taiwan
Peace in Mind, Galerie Pierre, Taichung, Taiwan
Art Taipei 2010, Convention Center, Taipei, Taiwan
Grand Opening Show, Galerie Pierre, Taichung, Taiwan
Shanghai Art Museum, China
1996 Works by Jenny Chen, Jia Art Gallery, Taipei, Taiwan
2009 2009 International Incheon Women Artists' Biennale, Incheon, Korea
Taipei Contemporary Art Exhibition, Shanghai Fine Arts Museum, Shanghai, China
National Taiwan Museum of Fine Arts, Taiwan

2019.04
96 21 x 27
ISBN 978-986-94830-4-9
1. 2.
947.5 108004960
Inner Rhyme
Exhibition Catalogue
Chief Editor
Sean C. S. Hu
Executive Editor
Huang Chien-Yu
Designers
Chen Yen-Ru, Wei Wen-Ru
Photographers
Work : Huang Kuo-Heng
Portrait : Eric McNatt
Translator
Huang Liang-Jung
Publisher
Wang Ko-Chen
Publisher
Double Square Gallery Co., Ltd.
770 28
Address
No. 28, Lane 770, Beian Road, Zhongshan District,
+886 2 8501 2138
+886 2 8501 2338
Taipei 104, Taiwan
Telephone +886 2 8501 2138
www.doublesquare.com.tw
Fax +886 2 8501 2338
Website
www.doublesquare.com.tw
2019 4
Printer
Sunrise Art Printing Co., Ltd.
I S B N
978-986-94830-4-9
Published in April, 2019
ISBN
978-986-94830-4-9 (Hard Cover)
Exhibition
Curator
Rita Chang
Exhibition Coordinators Huang Chien-Yu, Michael Wu
Assisting Coordinators
PinPin Wang, Grace Chen
Visual Designers
Chen Yen-Ru, Wei Wen-Ru
Accountant
Lin Li-Hui
Exhibition Engineering
Ho Chung-Chang
Organized by
All rights reserved by Double Square Gallery