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Chu Teh-I

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Extracts from - The Absolute Beauty of Form - Chen Ying-The : Teh-I Chu studied in L’Ecole Nationale Superieure des Arts-Decoratifs de Paris and L’Ecole Nationale Superieure des Beaux-Arts de Paris from the late seventies to the mid-eighties. During this period, he paid much attention to the most important branch of French contemporary art-‘Suport-Surface.’ This trend of art started in the early seventies. The concept of art that the artists propose and their interpretation of the materials is totally different from the past. They treat the original material with a very rational attitude. They analyze and deconstruct the canvas, the texture of canvas, the texture of rope, the internal frame, the quality of wood, pigment, geometric shapes of colors, and the brush-strokes.
Juxtaposition 2003
Juxtaposition 2003
Furthermore, these elements become a language of artistic representation. Chu was enlightened by this trend. We may find that, in his works, he treats the original color of the linen on which he paints as one of the elements of the painting itself. In particular, he emphasizes the interpretations of the painting materials.
Misplace Union 2002
Misplace Union 2002
Possess Position 2002
Possess Position 2002
Misplace Union 2003
Misplace Union 2003
On the other hand, he has contemplated Malevich’s Supermatism (Kasimir Malevich, a Russian painter, 1878-1939). This consideration helps Teh-I Chu to enlarge the experience and understanding of the relationship of form, color and space. In addition, Chu was deeply influenced by Cubism. Cubism uses the method of collage to deal with some shapeless color field. Chu transforms the collage into near-collage and reached this effect by painting on the canvas with his fingers. …… Chu went to Hong Kong to paint and to exhibit in the end of 1980. After he came back to Taiwan, the form, color and composition of his works become much freer and open-minded. He can operate his unique painting language with more confidence. He produced a series called Color Field and Colors. ……. There exists a negation rule to the stability of Teh-I Chu’s works, yet there exists a general principle in its negation as well. These two conflicting forces interact with and contend against each other. By it, the composed picture seems to implicate the internal codes on the artist’s mind. That is the attraction of his paintings.
His works are absolutely modern, yet his method and technique is correspondent to classical aesthetic rules as well. In his works, we may find concepts of proportion, balance, symmetry, contrast, harmony, and unification. These are the beauty of absolute form that all artists have been looking for since the Greek era. The absolute beauty is rather closer to the truth of creation than imitative art for an honest artist. - Translated by: Yi-Shin Liou / Ken-Fange Lee.
Chu Teh-I
Director, Kuandu Museum of Fine Arts
Taipei national university for the arts
Peitou, R.O.C

T: 886-2-2893-8871

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