Henri Chen KeZhan (b. 1959, Singapore –) is an abstract ink and wash painter who thrives on the border of Chinese and Western art.1 He is internationally recognised especially among Western audiences with some knowledge of Chinese art, and he has held several overseas exhibitions in the United States, Europe and Asia.2
Artistic beginnings
Chen received art training as a teenager, and just before he started National Service he expressed hopes of becoming an artist.3 From 1975 to 1979, he studied Chinese painting under the late pioneer artist Fan Chang Tien, a renowned artist in China during the 1930s who had fled the country during the Japanese invasion and settled in Singapore.4 It was Fan who promoted Chen’s interest in ink painting.5
Chen furthered his art education while in Hong Kong between 1979 and 1983.6 During this period, he learned the techniques of the Lingnan style of painting under the tutelage of the late Chao Shao-an (regarded as one of the greatest masters of the Lingnan Technique), and the ways of the calligrapher under Fung Kang-ho.7
When he was just 24, Chen travelled to China, India, Japan, the United States and Europe.8 He then settled in Paris, where he trained under expressionist oil painter Professor Jean Berthole of the École des Beaux-Arts.9
Learning journeys
Chen views his frequent visits to China as his main source of inspiration.10 He travels frequently to other countries, such as the United States, Britain, Russia, Hong Kong, Taiwan and Indonesia, for exchanges and exhibitions with other artists, and to seek inspiration for his art.11
Stylistic conventions
The subject matter of Chen’s paintings is nature, especially the lotus and other flowers.12 An enthusiastic gardener, he has even drawn inspiration from the plants he tends. The lotuses in his garden, for instance, inspired his Lotus series. Being surrounded by nature is an important stimulant to his creativity.13
Music is Chen’s artistic muse, and listening to music while painting has become a ritual for him.14 Having studied both art and music, he fuses elements of sound and colour in his art. For example, Autumn Lotus has elements of Mahler’s “First Symphony”, which Chen listened to while painting.15 The soft colours reflect the light-heartedness of the first movement of the “First Symphony”, while the darker colours represent the more dramatic music of the later movements.16
His works have been said to be of rare genius, a testament to the years he spent as an art apprentice under established masters of the field.17 They show an evolution of style and a freshness in theme, the result of his inclination to experiment and expose himself to new experiences through his numerous travels.18 This was evident in the two pairs of painted fans titled Lotus 1995, in which he experimented with minerals such as lapis lazuli to recreate his adventures in Vietnam on canvas.19 Similarly, Self Portraits has been described as a series of confident, compelling and avant-garde pictorial statements.20
In Chen’s art, the orthodox marks of the Chinese brush are always evident, but they are recontextualised and reinterpreted within the realm of abstract expressionism.21 The fine balance and synthesis of both eastern and Western techniques of painting is characteristic of his works. His style has been described as contemporary and at the same time emotive and engaging.22
Support for artists
Chen has been actively involved in supporting the arts community. In 1998, in the midst of the fallout from the Asian financial crisis, he organised a charity fundraising exhibition to establish the Visual Arts Fund.23 Initially administered by The Substation, the Visual Arts Fund is now an independent entity that continues to provide financial support to visual artists.24
In 2009, Chen established a private non-profit organisation now known as Temenggong Artists-In-Residence (Temenggong) to manage an arts residency programme for foreign artists.25 By keeping itself sustainable through fund-raising initiatives, Temenggong strives to promote cross-cultural exchanges and networking among foreign and local artists. In April 2012, Chen organised Gathering Clouds, the inaugural fund-raising exhibition for Temenggong.26
A longtime recipient of the National Arts Council’s annual awards for arts sponsorships, he has been honoured in various years with a Friend of the Arts, Patron of the Arts and Distinguished Patron of the Arts awards.27
Selected Exhibitions28
1977: Art 1977 Exhibition, National Museum Art Gallery, Singapore29
1977–82: Singapore Festival of the Arts Exhibition, National Museum Art Gallery, Singapore30
1977–82: National Day Art Exhibition, National Museum Art Gallery, Singapore31
1978: Solo art exhibition sponsored by Singapore Airlines, Ming Court Hotel, Singapore32
1980: Singapore Cultural Foundation Art Exhibition 1980, National Museum Art Gallery, Singapore33
1983: Paintings by Chen KeZhan, Arbour Fine Art, Singapore34
1983: Salon De Peinture Club Des Arts De Centre De Paris, Paris, France35
1984: 25 Years of Nation Building Youth Art Exhibition, Cultural and Educational Centre of Teochew Poit Ip Huay Kuan, Singapore36
1984: New Generation of Singapore Artists 1984, National Museum Art Gallery, Singapore37
1985: Chen KeZhan: Recent Works, Hotel Meridien, Singapore38
1985: Salon 85, Grand Palais, Paris, France39
1987: National Museum Centenary Art Exhibition, National Museum Art Gallery, Singapore40
1988: Contemporary Artists, Curwen Gallery, London, United Kingdom41
1988: Singapore Art Exhibition, Yokohama, Kobe, Sapporo and Tokyo, Japan42
1988: Masterpieces from Private Collections, National Museum Art Gallery, Singapore43
1988: Singapore Contemporary Artists Exhibition, Hong Kong Art Centre44
1988: Singapore Contemporary Artists Exhibition, National Museum Art Gallery, Singapore45
1989: ASEAN Exhibition of Painting, Singapore, Kuala Lumpur, Jakarta, Bangkok, Manila and Brunei46
1989: Chen KeZhan: Recent Works 88/89, Ingber Gallery, New York, United States47
1989–90: Contemporary Singapore: Where East Meets West, Amsterdam, Netherlands, and Glasgow, Scotland48
1990: Chen KeZhan: Self Portraits, Empress Place Museum, Singapore49
1990: Paintings by Chen KeZhan, Netherlands50
1990: Many in One: 25 Years of Art from Singapore, a travelling exhibition to the United States, presented by the National Museum, Singapore and Meridian House International, Washington D.C.51
1993: Contemporary Paintings from Singapore and Japan, Japan Foundation ASEAN Cultural Centre Gallery, Tokyo, Japan52
1995: Art That Binds, organised by Cicada Gallery of Fine Arts, Singapore53
1996: Interaction, Singapore Festival of the Arts 1996, Cicada Gallery of Fine Arts, Singapore54
1996: Contemporary Chinese Painting Exhibition, Duoyunxuan, Shanghai55
1996: Contemporary Chinese Painting Exhibition, Pao Galleries, Hong Kong Arts Centre56
1997: The Flowering Field: Contemporary Chinese Painting, organised by Kaikodo & Luen Chai, New York and Hong Kong57
1997: Taegu-Asia Arts Exhibition ‘97, Korea58
1997: Singapore Art ‘97, National Arts Council and Singapore Art Museum59
1998: The Familiar and the Surprising, Caldwell House, CHIJMES, Singapore60
1999: Power and Poetry: Monuments and Meditations in Chinese Ink Painting, Singapore Art Museum, Singapore61
1999: Beyond Tradition: Art of the New Migrant Chinese, Earl Lu Gallery, LA SALLE-SIA College of the Arts, Singapore62
2000: Snapshot, in conjunction with ARTSingapore 2000, Plum Blossoms Gallery, MITA Building, Singapore63
2001: 49th Venice Biennale, Italy64
2003: A selection of Chen Kezhan's works (1988-1998), Chateau d'Arts, Stamford House, Singapore65
2012: Gathering Clouds, Visual Arts @ Temenggong, Singapore66
2015: Influence of the Shanghai School of Painting in Singapore, Fullerton Hotel, Singapore67
2017: Fan Chang Tien & His School of Ink Artists Exhibition, Chui Huay Lim Club, Singapore68
2021: Expressing Heritage: Art & Originality Unfold, Temenggong Artists-In-Residence, Singapore69
Awards
1985: Silver Medal, Salon des Artistes Francais, Paris, France70
1994: Young Artist Award 1993, National Arts Council, Singapore71
Author
Adlina Maulod
References
1. Chia Wai Hon, “Lotus Love Story That Brings East and West to Full Bloom,” Straits Times, 21 September 1986, 6. (From NewspaperSG)
2. Parvathi Nayar, “Fusion Lines,” Business Times, 5 March 1999, 30. (From NewspaperSG)
3. Wong Kim Hoh, “Art of Giving,” Sunday Times, 5 April 2020, B3. (From Factiva via NLB’s eResources website)
4. Wong, “Art of Giving.”
5. T. Sasitharan, “Different Strokes,” Straits Times, 1 August 1990, 2; Phan Ming Yen, “Christie’s to Auction Singapore Art,” Straits Times, 16 March 1993, 11. (From NewspaperSG)
6. Sasitharan, “Different Strokes.”
7. Phan, “Christie’s to Auction Singapore Art.”
8. Phan, “Christie’s to Auction Singapore Art.”
9. Sasitharan, “Different Strokes.”
10. “Young Artist Award Winners,” Straits Times, 30 August 1994, 2. (From NewspaperSG)
11. Chia, “Lotus Love Story”; Sasitharan, “Different Strokes.”
12. Chia, “Lotus Love Story.”
13. Singapore Art Museum, Power and Poetry: Monuments and Meditations in Chinese Contemporary Ink Painting (Singapore: Singapore Art Museum, 1999), 12–13. (Call no. RSING 759.95957 POW)
14. Singapore Art Museum, Power and Poetry, 12.
15. Phan, “Christie’s to Auction Singapore Art.”
16. Phan, “Christie’s to Auction Singapore Art.”
17. Sasitharan, “Different Strokes.”
18. Singapore Art Museum, Power and Poetry, 12–13.
19. Singapore Art Museum, Power and Poetry, 13.
20. Sasitharan, “Different Strokes.”
21. Sasitharan, “Different Strokes.”
22. Singapore Art Museum, Power and Poetry, 13.
23. Wong, “Art of Giving.”
24. Wong, “Art of Giving.”
25. Wong, “Art of Giving.”
26. Wong, “Art of Giving.”
27. Kelly Tay, “Recognising Contributions to the Arts,” Business Times, 30 September 2011, 16; “1999 Patron of the Arts Award,” Straits Times, 14 September 1999, 23; “Patron of the Arts Awards 2016,” Business Times, 21 July 2016, 5; “Patron of the Arts Awards 2017,” Straits Times, 13 July 2017, 9 (From NewspaperSG); “National Arts Council Annual Report FY 2015/2016,” National Arts Council, last updated 28 November 2016. (From NLB’s Web Archive Singapore)
28. Singapore Art Museum, Power and Poetry, 153.
29. Singapore Art Museum, Power and Poetry, 153.
30. Singapore Art Museum, Power and Poetry, 153
31. Singapore Art Museum, Power and Poetry, 153
32. “Henry’s Race against Clock for Paris Show,” Straits Times, 23 August 1978, 11. (From NewspaperSG)
33. Singapore Art Museum, Power and Poetry,153
34. Singapore Art Museum, Power and Poetry, 153
35. Hoo Yew Gee, “Chinese Painter with Modern ‘Eyes’,” Straits Times, 8 September 1983, 1. (From NewspaperSG)
36. Hoo Yew Gee, “Day of the Young Artists,” Straits Times, 6 December 1984, 2. (From NewspaperSG)
37. Singapore Art Museum, Power and Poetry,153
38. Monica Gwee, “Works by Local Artists Chosen for International Exhibition in France,” Business Times, 23 January 1985, 3; Monica Gwee, “Six Sparkle at Paris Art Exhibition,” Business Times, 18 November 1985, 11. (From NewspaperSG)
39. “S’pore Artists Make Their Mark in Paris,” Straits Times, 2 August 1985, 19. (From NewspaperSG)
40. Singapore Art Museum, Power and Poetry, 153
41. Singapore Art Museum, Power and Poetry, 153
42. Singapore Art Museum, Power and Poetry, 153
43. Singapore Art Museum, Power and Poetry, 153; “They Do Just About Everything But Fly,” Business Times, 6 June 1988, 11. (From NewspaperSG)
44. Vanessa Lee, “Singapore Artists to Woo the Hongkong Market,” Business Times, 16 May 1988, 9. (From NewspaperSG)
45. Singapore Art Museum, Power and Poetry, 153
46. Singapore Art Museum, Power and Poetry, 153; “A Window into the Soul of Asean,” Straits Times, 26 June 1989, 3. (From NewspaperSG)
47. “Singapore Artist to Exhibit His Works in New York,” Straits Times: Weekly Overseas Edition, 20 May 1989, 8. (From NewspaperSG)
48. T. Sasitharan, “Gallery,” Straits Times, 15 March 1990, 3. (From NewspaperSG)
49. “A Study in Contrasts,” New Paper, 4 August 1990, 20. (From NewspaperSG)
50. Singapore Art Museum, Power and Poetry, 153
51. T. Sasitharan, “Modes of Change,” Straits Times, 28 March 1991, 5. (From NewspaperSG)
52. Singapore Art Museum, Power and Poetry, 153
53. Singapore Art Museum, Power and Poetry, 153
54. Singapore Art Museum, Power and Poetry, 153
55. Singapore Art Museum, Power and Poetry, 153
56. Singapore Art Museum, Power and Poetry, 153
57. Singapore Art Museum, Power and Poetry, 153
58. Singapore Art Museum, Power and Poetry, 153
59. Singapore Art Museum, Power and Poetry, 153; Janet Ho, “Artists Urged to Try More Social Situations,” Straits Times, 3 March 1997, 3. (From NewspaperSG)
60. Carissa Oon, “Top Draw as Chen KeZhan Paintings Net $330,000,” Straits Times, 26 August 1998, 2. (From NewspaperSG)
61. “Different Styles, Strokes,” Straits Times, 15 April 1999, 5. (From NewspaperSG)
62. Parvathi Nayar, “Fusion Lines.”
63. “Art Is in the Air,” Business Times, 30 September 2000, 23. (From NewspaperSG);
64. “Abstract’s New Home“, Straits Times, 4 March 2004, 4; “Singapore’s High Priced Treasures,” Straits Times, 22 May 2012, 2–3. (From NewspaperSG)
65. “What’s On,” Straits Times, 18 August 2003, 16. (From NewspaperSG)
66. “Under One Roof for Art,” Straits Times, 28 April 2012, 6. (From NewspaperSG)
67. “Noted Shanghai School Paintings on Show,” Straits Times, 13 January, 2015, 4. (From NewspaperSG)
68. Nabilah Said, “A Brush with Tradition,” Straits Times, 6 June 2017, 4. (From NewspaperSG)
69. Tay Suan Chiang, “Arts: Historical Interpretations,” Business Times, 10 September 2021, 7; Ong Sor Fern, “What to See”, Straits Times, 3 September 2021, 4. (From Newslink via NLB’s eResources website)
70. “Six Artists Do Singapore Proud,” Straits Times, 18 November 1985, 15. (From NewspaperSG)
71. “Young Artist Award Winner,” Straits Times, 30 August 1994, 2. (From NewspaperSG)
Further resources
Chia Wai Hon, Bits and Pieces: Writings on Art (Singapore: Contemporary Asian Arts Centre, 2002). (Call no. RSING 709.5957 CHI)
Kwok Kian Chow, Channels & Confluences: A History of Singapore Art (Singapore: Singapore Art Museum, 1996). (Call no. RSING 709.5957 KWO)
National Arts Council, Singapore, Histories Identities Technologies Spaces: Singapore Art Today, vol. 1 (Singapore: National Arts Council, 2001). (Call no. RSING 759.95957 HIS)
The information in this article is valid as of October 2023 and correct as far as we are able to ascertain from our sources. It is not intended to be an exhaustive or complete history of the subject. Please contact the Library for further reading materials on the topic.
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