Finding Splendor in Every Season
 
"The nature of my art is 'evocative' rather than 'descriptive.' Like music, it is meant to stimulate inner feeling rather than tell a story. It is intended as an intense expression of the inner experience—a visual metaphor, not a visual narrative."
 
–Chen Cheng-Hsiung, The Sayings of Chen Cheng-Hsiung on Art
 
Beyond the Canvas
 
Chen Cheng-Hsiung has enriched Taiwan's art world through an impressive range of contributions over the course of his career—from his abstract painting, scholarly research on indigenous and Qing dynasty clothing and jewelry, art education, academic publications on abstract art, to his promotion of Taiwan's artists to the international stage. These diverse roles established Chen as an early voice in cross-disciplinary dialogue, weaving together his theoretical work and traditional collecting practices in a distinctive approach to artistic creation.
 
A pivotal moment in Chen's artistic journey came in 1966 when he began collecting clothing and objects of the indigenous peoples of Taiwan, drawing inspiration from their vibrant colors and abstract patterns for his own work. Years later, in 1993, he toured the Beijing Palace Museum, Shenyang Palace Museum, and British Museum and found himself similarly fascinated with the displayed imperial garments, leading him to build and study a collection of Qing dynasty clothing. The depth of these influences can be seen in the striking connections between Chen's lyrical abstract paintings and his collected objects, particularly in his sophisticated use of color; his approach to color relationships echoes contemporary design principles, lending his work a modern sensibility while reinforcing his contributions to cross-disciplinary artistic practice.
 
Chen's biography was written by the renowned Paris-based artist Chang Tzu-wei, who captured the essence of Chen's work in the work's title, An Ode to Joy on Canvas. This celebration of the delight Chen's art brings to viewers stems in part to the natural musicality and flow of Chen's brushstrokes, infusing his works with the essence of the four seasons. This essence conveys a sense of convergence across time and his works—whether amid urban clamor or introspective contemplation—speak to the unique atmospheres of each season: the emergent lushness of spring, the charming brilliance of summer, the tranquility of autumn, and the somber chill of winter.
 
In this exhibition—Chen Cheng-Hsiung at 90:An Abstract Painter and His Collection—KMFA aims to illuminate the cultural dimensions of Chen's artwork through his collected objects. For instance, his collection of indigenous pieces reveals marine elements that find direct expression in his own abstract paintings of the lyrical ocean. Moreover, the dialogue between East and West emerges clearly in his "Window" and "Digital Space" series, where calligraphic lines resonate with embroidered patterns, Chen's bold use of color extending beyond the traditionally Eastern medium while also incorporating the essence of Western abstraction. This artistic fusion brings to mind Liu Yuxi's meditation in Record of the Dong Clan's Wula Collection, where he notes that "the scene emerges beyond the work." In this way, Chen's work first strikes viewers with its commanding presence, but deeper contemplation reveals intricate details that delicately embellish his artistic vision.