Lo Chan Peng is honored to participate in La Nota Mancante, the inaugural exhibition of the Maddalena Di Giacomo Foundation (Fondazione Maddalena Di Giacomo), held at Palazzo Valier in Venice.
The exhibition will open with a private reception on May 21, 2026, and will be officially open to the public from May 22, 2026, through November 21, 2026.

This presentation continues his latest body of work developed in Los Angeles, exploring perception, memory, and the psychological condition of human existence within the intersection of contemporary culture and technology.
The booth will feature a two-person presentation alongside Eishi Miura.
Kawata Gallery is offering 10 VIP Preview invitations for this edition.
Collectors who wish to attend the VIP Preview are welcome to inquire via direct message.

This is a creative environment open only to a select few.
Among the hills and forests of Tuscany, you will step away from your existing rhythm and enter a heightened state of focus and perception.
Here, creation is no longer practice—it becomes an embodiment of how you see, decide, and define your standards.

Homesickness was created shortly after Lo Chan Peng’s relocation to Los Angeles. When an individual leaves a familiar cultural context, the body and memory often experience a subtle dislocation at unexpected moments. Elements once taken for granted suddenly feel distant and blurred, while inner sensations become sharper and more profound.
The figure in the painting rests close to the ground, as if suspended in a fleeting moment between wakefulness and dreaming. It is not a dramatic display of emotion, but rather an intensely quiet state—a brief instance where one encounters their true self amidst the gaps of distance, time, and memory.

To the artist, Homesickness is not merely a longing for a specific place. It is an internal perception of the migratory experience: how memory leaves its mark on the body when we depart from our original world.

We look forward to participating in this exhibition alongside talented artists from around the globe.

Renowned for its focus on the spiritual depth and technical mastery of contemporary figurative art, MEAM’s annual exhibition brings together works from the world's leading realist artists. Through a restrained and delicate visual language, A Dream of yūgen responds to the Eastern aesthetic spirit of "Yūgen," presenting a unique cultural perspective within the context of contemporary realism.

Exhibition Title: 
Realism Now 2026 (Realismo Hoy 2026)
Venue: 
European Museum of Modern Art (MEAM), Barcelona, Spain
Dates: 
January 16 – May 17, 2026

This marks the artist's major annual appearance on the Taipei art fair stage following a period of dedicated creation in Los Angeles.

In recent years, Lo Chan Peng has continued to gain significant recognition on the international stage, garnering numerous prestigious awards and achieving remarkable artistic milestones:
In 2020, his work won multiple top awards at the globally renowned Art Renewal Center (ARC) International Salon and was acquired for the center's collection.
In 2022, he became the first Taiwanese artist to be collected by the prestigious HOKI Museum in Japan. In the same year, he won the Grand Prize of the international Beautiful Bizarre Art Prize.
In 2025, he held his first solo exhibition in the United States at the iconic COREY HELFORD GALLERY in Los Angeles.

his interview presents an in-depth discussion with artist Lo Chan Peng about his creative philosophy and artistic career. Currently working between Taipei and Los Angeles, he is known for his realistic portraiture. Lo Chan Peng considers his work to move beyond the traditional definition of 'realist painting,' aligning more closely with New Figurative Painting—an art movement that combines rigorous classical training with contemporary visual language, such as pixels. He emphasizes that inspiration comes from long-term contemplation and life experience, attributing his style to the choices of destiny rather than personal decision. He also shares the story of how his mother's praise in his childhood set him on the path to becoming a painter. Facing the challenges of the AI era, he asserts that the value of art lies in the irreplaceable nature of life stories, humanity, and craftsmanship. The discussion also covers his dedication to recreating the beauty of 'texture' in classical oil painting, leading him to invent his own tools and techniques like 'Pixel Glazing,' which fuse Eastern and Western philosophies and materials, such as the Japanese aesthetic of 'Wabi-sabi' and Pan-Asian cultural symbols.

Interview video available with English, Japanese, Spanish, and Italian subtitles. Please switch subtitles on YouTube.

This exhibition convenes major international artists who are central to the development of contemporary figurative and realist painting.

As an international Neo-Figurative Artist, Lo Chan Peng's work continuously explores how to redefine the meaning of being human through the warmth and craftsmanship of painting, in an age dominated by the hegemony of AI imagery. As Lo Chan Peng has always maintained: "In the near future, humanity will discover that the act of painting by hand is more important than ever, for it is a direct reflection of the human soul. For human life is not meant to be replaceable, but to manifest its unique existence."

It has been more than half a year since I arrived in Los Angeles. Amid the gaps in language and culture, the silence and anticipation of the art market, and the uncertainty toward the future, I am profoundly grateful to Corey Helford Gallery for providing me the opportunity to present my first solo exhibition in the United States.

Coming from Taiwan to America was not only a journey for my art but also a pursuit toward completing myself.

For me, painting is a dialogue between the soul and history—a way to offer a contemplative gaze in an uncertain world.
In this age of rapid image reproduction by machines, my work returns to humanity and craftsmanship,
because redefining what it means to be human is a question we must all reflect upon.

Interview & Text by Tseng Hsiao-Ju
Images courtesy of Lo Chan Peng
Lo Chan Peng is an artist deeply committed to the traditions of realist portraiture. He is known for his precise depictions of the human face and spirit, rendered with a refined technique that immerses viewers in his careful study of expression and detail. Yet, Lo’s artistic pursuit is never limited to the surface likeness of his subjects. Instead, his portraits emerge from the social context he inhabits and his ongoing exploration of humanistic concerns—inviting viewers into a multilayered visual dialogue encompassing history, culture, and self-reflection.

The exhibition is curated by Beautiful Bizarre Magazine.

Dreamland Awaits
Exhibition Dates: April 26 - May 31, 2025
Opening reception: April 26, 7:00 – 11:00pm
Corey Helford Gallery | 571 S Anderson St #1, Los Angeles, CA 90033, United States

The artist with his work in the background. The photograph is from the artist’s archive.
Lo Chan Peng is a contemporary artist born in 1983 in Taiwan, known for his hyper-realistic paintings that delve into themes of identity, culture, and the human experience. His artistic journey has garnered significant recognition, culminating in the prestigious Grand Prize at the 2023 Beautiful Bizarre Art Prize, which highlights his exceptional talent and unique perspective.

Taipei International Art Expo 2024 Art Taipei
Venue｜Taipei World Trade Center Exhibition Hall 1
Enlighten Gallery Booth｜F18
VIP Preview｜10.24
Public Days｜10.25-28

Elvis Presley Oil on canvas, 50 x 75cm by Lo Chan Peng, Grand Prize Winner of the 2023 Beautiful Bizarre Art Prize, will be featured in the upcoming Beautiful Bizarre exhibition ‘Paracosmic Escape’ at Modern Eden Gallery.

This exhibition includes works by over 80 of the world’s leading contemporary artists from across the globe, including the winners of the 2024 Beautiful Bizarre Art Prize. For the Collectors Preview, please contact Gallery Director Kim Larson at [email protected] or register your interest at www.moderneden.com/en-au/collections/paracosmic-escape-curated-by-beautiful-bizarre-magazine.


Paracosmic Escape

Curated by: Beautiful Bizarre

Art Direction by: Musonium Gallery

Exhibition Dates:** November 9 - December 5, 2024

Opening Reception:** Saturday, November 9, 6 - 9 pm

Venue:Modern Eden Gallery, 1100 Sutter Street, San Francisco, CA 94109, United States

Paracosmic Escape explores themes of retrospection, introspection, and complex relationships with the real world, where internal gateways provide a sanctuary to heal from and offer explanations for the effects of reality. ~ Keeley Gerard (Art Director of Musonium Gallery)

Exhibition Name: “The Light of Innocence”

Exhibition Location: Church of Saints Filippo and Giacomo, Via San Biagio dei Librai 118, Naples.

Curatorial Team: Curated by Chiara Cesari and Giuseppe Mele - Gaudium Space.

Opening Day: September 27, 2024, 18:30

When I learned that I had the honor of exhibiting at the Church of Saints Filippo and Giacomo, I began to contemplate how I should interpret this piece.

I drew some elements from the Bible, such as figs and candles, and added some imagination. I always hope to extend from classical texts, as I believe they are the cornerstone of human civilization, much like the church itself.

All of my works are related to “seeking,” because through experiences in life, I have always been searching for an existence beyond humanity through my art.

Of course, like Sisyphus, such a pursuit is beyond human limits and cannot be found, but I believe this is precisely the reason I create.

Exhibition Venue: Church of Saints Filippo and Giacomo in Via San Biagio dei Librai 118, Naples.
Curatorial Team: Organized by Chiara Cesari and Giuseppe Mele - Gaudium Space.
Opening Date: September 27, 2024, at 18:30

Curator’s Introduction:
Giuseppe Mele, whose family has a history of art collection spanning around 60 years, has been deeply involved in the art world. With a degree in painting and cultural heritage, he has curated exhibitions for about eight years. In 2020, he founded the curatorial team Gaudium, which achieved immediate success despite the challenges posed by the COVID-19 pandemic. Gaudium has organized numerous exhibitions and continuously promoted culture and Italy, recently expanding its efforts, like wildfire, to showcase in some of Italy’s most prestigious churches.


The Lounge Room Collector Series explores the extraordinary, eclectic, and sometimes surprising private collections of the New England region.

The seventh exhibition in the series invited New England locals, Danijela Krha Purssey & Richard Purssey, founders of Beautiful Bizarre Magazine. 

A carefully curated and beautifully published contemporary art magazine which showcases the work of artisan designers, and emerging and

mid-career artists and photographers from around the globe, the Pursseys’ private collection reflects the same eclectic and beguiling aesthetic.

Join the conversation as we discuss the selection of artworks that Danijela and Richard have acquired over the years.

The Japanese art magazine Art Collectors featured a special segment on realism painting in its June issue, interviewing three artists: Lo Chan Peng, Osamu Obi, and Yuuzou Yamamoto. In the interview, Lo Chan Peng shared his perspectives on Japanese art and the works of Osamu Obi and Yuuzou Yamamoto from the viewpoint of a Taiwanese artist. They discussed the essential nature of realism painting, with Lo Chan Peng expressing that realism painting is merely a concept. He believes the focus of an artist's work should be on using this concept as a tool to convey the world they see and their inner thoughts.



The Le Metté Adeline Public Art Lounge is located in a large integrated facility in downtown Okayama, with Art Director Kohei Nawa.

The gallery owner is Adeline Le Metté from France, who is both an artist and a gallery owner, running "L GALLERY" and "Le Metté Adeline".


Le Metté Adeline 公共アートラウンジは岡山市中心部の大規模な施設にあり、アートディレクターは名和晃平です。

ギャラリストはフランス出身のAdeline Le Mettéで、彼女はアーティスト兼ギャラリストで、「L GALLERY」と「Le Metté Adeline」を運営しています。


To all friends who appreciate the works of Lo Chan Peng:

I have crafted desktop wallpapers for both computer and mobile versions for my first oil painting completed in 2024, titled "Enlightenment in this very moment." This serves as a gift to you and conveys my blessings for this year, hoping that we all may experience a heightened spiritual awakening. I am truly grateful for your ongoing support.

"Enlightenment in this very moment oil on canvas 50X50cm 2024"

As the years of creation accumulate, I gradually realize the connection between the act of creation itself and a "higher-dimensional world." I often describe my works as a process of "exploration" because the final results always deviate from my initial expectations. Yet, the most frequent question I ask myself is, "What am I truly exploring?" In reality, I am well aware of what it is, but it proves challenging to express it in words or language.

Nevertheless, I deeply believe that things which cannot be described by words or language are the true essence of this world. Therefore, I explore it through painting. In this process, the artwork gradually absorbs a unique quality—a human-specific essence of "exploration, correction, and craftsmanship"—which I cherish.
Sincere blessings,

s White Day approaches, Lo Chan Peng Studio sincerely offers suggestions to make this special day even more romantic and unforgettable. Wishing you and your loved one a warm and romantic White Day!

 "Elvis Aaron Presley Giclee"
About this piece:
I have long been fascinated by the theme of "Historic Movers."
For this reason, I have created portraits of individuals who have significantly influenced human history, such as Sir. Winston Churchill, President Lincoln, Mr. Osamu Dazai, Mr. Sakamoto Ryuichi, and many others.
These individuals have become a part of human culture after enduring the test of time, contributing to humanity in various ways (regardless of different cultural perspectives on them).
From a perspective of mysticism and spirituality, I hope that through these creations, people can recall their own souls, remember why we are here, and contemplate the purpose of this lifetime.
In conclusion, I would like to say that Elvis Aaron Presley may be the man most suited for roses in the history of humanity.

Thank you very much for your participation in the "Original Sketch" giveaway event at Lo Chan Peng Studio. To join, simply fill in your details on the website above, and on February 1st, I will use the drawing website to select a lucky winner to whom I will send this sketch.
Thank you for your support of Lo Chan Peng Studio, and I hope you have a happy new year with the possibility of winning!

Lo Chan Peng StudioJanuary Exhibition InformationArt Collector Starter KitOpening Date: January 13, 2024, 7-11 PMLocation: Gallery 2, Corey Helford Gallery, Los Angeles, USA571 S Anderson St (Enter on Willow St)Los Angeles, CA 90033(310) 287-2340Your visit is welcome! To request the collector's preview for the show, please [email protected].

  Lo Chan Peng Studio Artwork Packaging:For each completed artwork, Lo Chan Peng Studio captures the only Polaroid photo in the world and personally signs it. This photo is affixed to a specially designed shipping box. It serves as a means for collectors to identify the artwork from the outside of the box and also acts as a unique certification provided by Lo Chan Peng Studio.The box is opened in a pizza box style personally designed by Lo Chan Peng.The artwork is securely fastened to the box with wooden boards on both sides for protection. This ensures that the surface of the artwork does not come into contact with any objects, maintaining absolute cleanliness and ensuring safety during transportation.Inside the box, there is a thank-you letter from Lo Chan Peng to the collector,along with guidelines for the proper care and storage of the artwork.We hope that from the moment you receive the artwork, you feel the joy.Your gaze is the reason why I create.羅展鵬工作室の作品包装：羅展鵬工作室は、完成した各作品に対して世界で唯一のインスタント写真を撮影し、直筆でサインを施します。この写真は特別にデザインされた輸送用の箱に浮かべられ、コレクターが作品を識別する際の手段となるだけでなく、羅展鵬工作室が提供する作品のユニークな認証でもあります。箱の開封方法は、羅展鵬が個人的にデザインしたピザボックス形式であり、アート作品は前後に木製の板で保護され、作品の表面は運送中に他の物体に触れないように絶対に清潔な状態を維持し、安全性を確保しています。箱の内部には、コレクターへの感謝状と作品の収蔵に関するガイドが添付されています。作品を受け取った瞬間から、喜びを感じていただけることを願っています。Your gaze is the reason why I create.

Lo Chan Peng Studio launches a limited edition Giclée reproduction of "Eternity Dawn."羅展鵬スタジオが「永晝Eternity Dawn」の限定版ジクレー複製を発売しました。Lo Chan Peng X theprintspace Lo Chan Peng Studio collaborates with theprintspace, a renowned top-tier printing company based in the UK with production worldwide. We are excited to present a limited edition Giclée reproduction of the award-winning artwork "Eternity Dawn" which received the 2023 Beautiful Bizarre Art Prize! It's available in 2 sizes with options for framing. This will also make a great gift for your friends and loved ones this holiday season.The package includes a Lo Chan Peng Studio certificate and a gratitude card for collectors. theprintspace is a fully end-to-end carbon neutral printing partner, so all prints and framed artworks (and their delivery) are certified carbon neutral.All papers and wood-based materials are sourced from Forestry Stewardship Council certified sustainable sources. Packaging materials have been carefully selected to reduce the impact on the environment whilst still ensuring your artwork gets to you in perfect condition. Plastics are kept to a minimum and all packaging materials are sustainably sourced, being a mixture of recycled, recyclable or biodegradable materials. Sales Period: 12/4-12/9After the sales period or when the edition limit is reached, this version will no longer be available. Worldwide Shipping Available:Europe and Canada: Shipping + Tax approximately $25Other regions: Shipping + Tax starting from approximately $55 A message to collectors:This marks Lo Chan Peng Studio's international collaboration, a careful selection similar to our partnership with the Spanish publisher The Guide Artists. These collaborations involve reputable companies with rich international experience. Detailed discussions and contracts have been conducted regarding transport insurance and artwork damage. Lo Chan Peng Studio has physically verified the material and quality of the prints. We hope you enjoy it! Limited Edition Giclée Reproduction of "Eternity Dawn" Lo Chan Peng shared the inspiration behind "Eternity Dawn" during the interview.Lo Chan Peng X theprintspace Lo Chan Peng Studioは、英国に拠点を置き世界中で生産される著名なトップティアの印刷会社であるtheprintspaceと協力しています。我々は喜んで、2023年Beautiful Bizarre Art Prizeを受賞した作品「Eternity Dawn」の限定版Giclée複製をご紹介いたします！2つのサイズと額縁のオプションがご利用いただけます。これはまた、このホリデーシーズンにお友達やご家族への素晴らしい贈り物となります。パッケージにはLo Chan Peng Studioの証明書とコレクターへの感謝カードが含まれています。theprintspaceは完全なエンドツーエンドの炭素中和印刷パートナーであり、すべての印刷物と額縁つきのアートワーク（およびそれらの配送）は炭素中和が認定されています。紙および木材ベースの材料は、森林管理協議会（FSC）の認定を受けた持続可能な源泉から供給されています。包装材料は環境への影響を最小限に抑えるよう慎重に選ばれており、プラスチックは最小限に抑えられ、すべての包装材料は再生可能、リサイクル可能、または生分解性の材料の組み合わせです。販売期間：12/3-12/8販売期間終了後または限定数に達した場合、このバージョンは利用できなくなります。 国際発送可能：ヨーロッパおよびカナダ：送料＋税金約25ドルその他の地域：送料＋税金最低約55ドル コレクターへのメッセージ：これはLo Chan Peng Studioの国際的なコラボレーションを示しており、スペインの出版社The Guide Artistsとの提携と同様に慎重に選ばれたものです。これらの協力関係には、国際的な経験豊富な信頼性の高い企業が含まれています。輸送保険とアートワークの損傷に関する詳細な議論と契約が行われています。Lo Chan Peng Studioは印刷物の材料と品質を物理的に検証しました。お楽しみいただければ幸いです！《永晝 Eternity Dawn》の限定版ジクレー複製品  羅展鵬 X theprintspace羅展鵬工作室與theprintspace合作，這是一家位於英國並在全球生產的知名頂級印刷公司。我們很高興為您呈現屢獲殊榮的作品《永晝》的限量版Giclée複製品，該作品獲得了2023年Beautiful Bizarre藝術獎！提供兩種尺寸，並提供裝裱選項。這也是在假期季送給朋友和摯愛的絕佳禮物。套裝包括羅展鵬工作室證書和感謝卡。theprintspace是一家完全端到端的碳中和印刷合作夥伴，因此所有印刷品和裝裱藝術品（以及它們的運送）均獲得碳中和認證。所有紙張和木質材料均來自擁有林業管理委員會認證的可持續來源。包裝材料經過精心挑選，以減少對環境的影響，同時確保您的藝術品完好無損地送達給您。塑料的使用被降到最低，所有包裝材料均是可回收的、可分解的材料的混合體。銷售期：12/3-12/8銷售期結束或達到限量後，此版本將不再提供。全球運送可行：歐洲和加拿大：運費+稅約25美元其他地區：運費+稅最低約55美元給收藏家的一封信：這標誌著羅展鵬工作室的國際合作，類似於我們與西班牙出版商The Guide Artists的合作。這些合作涉及具有豐富國際經驗的聲譽卓著的公司。已就運輸保險和藝術品損壞進行了詳細的討論和合同。羅展鵬工作室已實地驗證了印刷品的材料和品質。希望您喜歡它！《永晝 Eternity Dawn》的限量版Giclée複製品 

Lo Chan Peng had been invited to participate in the tenth-anniversary special exhibition of the Asia University Museum of Modern Art, titled "Transformation: Body ‧ Gaze ‧ Power," and would address the audience as a representative of the artist.羅展鵬Lo Chan Peng はアジア大学現代美術館の10周年記念特別展「変容：ボディ・ゲイズ・パワー」に招待されアーティスト代表としてスピーチを行います。People across time and geography often have this kind of wish: fulfill their inner desire on their mind through bodily changes.  The transformation discussed in this exhibition is not of religious meaning or fictional imagination, but developed with body as the theme. The five galleries, i.e. Dawn of Enlightenment, Struggle of Eroticism and Art, Power Discipline, Collective Gaze, and Body of Evolution, delve into the eastern view of body, the line between art and eroticism, power, viewing, and interdisciplinary body, respectively. Hence, the exhibition probes into the new artistic outlooks of “body” since the 20th century as well as the important topics and challenges across the processes of body presentation in the context of art development.Biopouvoir (biopower) proposed by the modern French thinker, Michel Foucault, serves the source of our curatorial thinking, while in response to the #MeToo movement happening now in Taiwan. This biopower is different from the “right to life” as stated in the UN Declaration. The “biopower” described by Foucault comes with the integral meaning of system reflection, culture, philosophy, and psychology. He was convinced that humanity is constantly subject to the deployment or apparatus of, or discipline of, time, space, political system, social customs, culture, and anything visible or invisible. What lies underneath discipline is an epistémè (episteme), which is different from the truth beyond time and space claimed by Plato. In comparison, such episteme constitutes the discipline for people’s knowledge, judgement, and physical behaviors, placing people in the constraints of behavioral patterns, thinking patterns, and even physiological responses unconsciously. That is a horrific biopower of oppression, control, and being viewed without self-aware. We are disciplined, body and mind, without the knowledge thereof. The society as a whole is an existence that keeps individuals in check. Biopower intervenes and controls our bodies through specific powers. A state is one colossal apparatus for control. Only through exposing the power structure that has control over us can individuals living in the modern society be free..Skrik（norsk）Oil on the canvas 68cm（Φ）2019 The body portrayal in the art development of Taiwan went through several stages. The development of the western body of Venus in heaven has been intimately associated with divine power in the whole development context. The ancient Greco-Roman view of body adhered to the ideal beauty in quest of universal beauty. In the view of body during the era of Christianity, a body is a creation of God, demonstrating the pursuit of perpetual purification and immortality for body and mind. Classicalism after the Renaissance returned to the ancient Greco-Roman body aesthetics. The body in the view of classicalism is grounded on the universal, ideal beauty beyond individuals in reality. The awakening of modern body emerged from the post-romanticism discovery of personal beauty, where an existence’s conscious view of body laid the foundation of the modern body. The western art with a long history flowed to the East. The view of body in the East had been closely tied with etiquette and society, as the existence of body made the manifestation of social value. The western art spread to the East. Rangaku (the Dutch learning) in the Edo Period absorbed the western view of body bit by bit. After the Meiji Restoration, Italian painters were invited to serve as the teachers in the Technical Fine Arts School, and students were sent to Europe to learn art. The western notion of body became the body aesthetics in the fine art period of Taiwan through the Japanese fine art school education and exhibitions during the Japanese Rule. From the three-piece work, Wisdom, Impression, Sentimet of the eminent Japanese oil painter KURODA Seiki, we can observe the incorporation of the western view of body into the aesthetics of Japan. The delicate lines are deeply carved onto the three nudes like a kind of discipline, which were born from the brush of the East with a long history. The portraits during the colonial period, instead of fixated with the beauty of human body, manifest the collective sense of human existence under social conditioning. As the entry for body viewing in the budding stage of art in Taiwan, the foundation of classical aesthetics of academy became the mean to viewing body beauty.Syrian Boy“Ｃ” Oil on canvas 50X50cm 2021In the early days of nationalist government’s relocation to Taiwan, body was presented with sublime beauty in the modern monument style at the core. Figures or bodies in this period are individual existences, highly disciplined or conditioned. Such sentiment made up the basic quality of the time. The painters from Mainland China and the Taiwanese artists, although subject to discipline of varied political power, gradually and collectively developed the body aesthetics of the time, during which the view of human body’s beauty mainly evolved from portrait into the body viewing of beauty. The beauty of body naturally became a subject for portrayal in academies, yet still in the manners of memory, metaphor, and objectification among portraits and nudes, nevertheless. Art versus eroticism made a huge topic of the time.Body is conditioned by means of education, system, and culture in terms of external behaviors and internal mind. Hence, to unshackle the conditioning, it is necessary for one to expose the system that controls body and to recount their body experience. The disturbance or oppression owing to repression or touch or even intrusion experienced by individuals come to be the vital means to self-redemption and liberation of all systems. The intervention of technology has driven body towards the anxiety with life and life cloning, as cloning and proliferation become the critical processes of body development in the 21st century. Body has grown into an existence disciplined by social system and institution on the basis of episteme. The free development of body gained from art is constantly evolving over the course of history. Exposing the controlling power structure or recounting one’s own body experience is precisely the greatest liberation movement for body and mind after the Millenium in Taiwan.『Verdant Life』 162X112cm Oil on canvas 2018

Lo Chan Peng is set to exhibit "Poetic Dwelling" [oil painting, 98 x 80 cm] at Haveng allery in New York. This artwork is created by Roshanpan, the winner of the 2023 Beautiful Bizarre Art Award, and it's part of the "Serendipity" exhibition curated by Beautiful Bizarre Magazine羅展鵬はニューヨークのHaven Galleryで、2023 Beautiful Bizarre芸術賞の大賞受賞者である 羅展鵬 が制作した "詩意の住処"[油絵、98 x 80センチ] を展示予定です。これはBeautiful Bizarre Magazineがキュレーションする「Serendipity」という展覧会の一部です。SerendipityInternational Group Exhibition curated by Beautiful Bizarre MagazineExhibition Dates: November 4 - December 3, 2023Opening Reception: Saturday, 4 November, 6 - 9pmThe winners of the 2023 Beautiful Bizarre Art Prize will also be exhibiting their work!Haven Gallery | 50 Main Street Northport, NY United States | (631) 757-0500To receive the Collectors Preview please email Erica at [email protected] PeakThe Serendipity exhibition, is Beautiful Bizarre Magazine’s 16th international curated exhibition, and our 4th in partnership with prestigious New York gallery, Haven Gallery. This exhibition brings together over 80 incredible local American and international artists, including the Winners of the 2023 Beautiful Bizarre Art Prize. Each exploring the Serendipity theme through the lens of their unique lived experience and artistic styles. While at the same time bringing the pages of Beautiful Bizarre Magazine to life!Serendipity is the way to make discoveries, by accident but also by sagacity, of things one is not in quest of. Based on experience, knowledge, it is the creative exploitation of the unforeseen. ~ Adrian bejanIt is often said that art imitates life, and just like life, art can surprise and delight us in unexpected ways. Serendipitous moments can provide artists with inspiration, influence their creative process, and even shape the final outcome of their work into something beautiful, bizarre, and remarkably unique.Serendipity is the spark that ignites inspiration. The opening reception at Haven Gallery will be open to the public, all welcome!EXHIBITION PREVIEW

Lo Chan Peng is awarded The Grand Prize Winner of the 2023 Beautiful Bizarre Art Prize.This award encompasses various mediums such as traditional art, sculpture, photography, and digital art, spanning styles like realism, surrealism, pop surrealism, and lowbrow art. This year, there were 145 finalists from 82 countries due to the high quality of submissions. The number of finalists for the overall grand prize expanded from 15 to 20, including winners in different categories and an overall grand prize winner regardless of category."Eternity Dawn", Oil on the canvas, 107.5cm x 170 cm.Born in 1983 in Taiwan, Lo Chan Peng is a constant prize winner in Taiwan since his young age. Lo has awarded: ARC Purchase Award | Art Renewal Center (ARC), USA, Honorable Mention / Portraiture | Art Renewal Center (ARC), USA, ARC People’s Choice Award | Art Renewal Center (ARC), (2020). The Chi-mei Cultivation Award (2007). The Kaohsiung Award (2008). Lo has been working as an artist in resident in worldwide institutions such as ARC Salon, Sotheby’s 2021), European museum of modern art Barcelona, 2021) and in Berlin (2011). He also attended International Art Fairs hold in London, Tokyo, Osaka, Busan, Soul, Masco, Singapore, Taipei, etc. Lo’s works have been collected by galleries, museums, and collectors around the world, such as  HOKI Museum  ,ESMoA ,National Taiwan Museum of Fine Arts, Chi-met Museum, and Union Culture Foundation. Most of Lo Chan-Peng’s works are focusing on portraitures by using oil color or ink. In his creation, Lo likes to discuss issues such as time, history, and life and death. With his vivid and exquisite portraits, Lo adds elements to “spoil” the pictures, thereby bringing a strong and unique visual experience to the viewers, also transferring the abstract concept into something that can be seen.Lo Chan Peng 's award-winning artwork: Link to the Grand Prize Winner of the Beautiful Bizarre Art PrizeLo Chan Peng's works are characterized by their delicacy, classical and contemporary elements, strong emotional impact, and a sense of mystery. "永晝" (Yongzhi) depicts a reclining woman from a completely horizontal perspective, which sets it apart from the typical top-down view when observing a person lying down. In this artwork, the viewer's perspective is more immersive, as if lying beside the figure.Beautiful Bizarre Magazine is the latest contemporary art magazine that caters to artists, enthusiasts, collectors, and galleries. It's a vast and highly active community with over 1.2 million fans, connecting and inspiring like-minded passionate individuals.The 2023 Beautiful Bizarre Art Prize jury consists of influential figures in the art world, including gallery owners, curators, artists, as well as business and charity art champions. The judging panel includes the co-founders of Beautiful Bizarre Magazine, Danijela Krha Purssey and Richard Purssey, Erica Berkowitz and Joseph Weinreb from Haven Gallery, representatives from their primary sponsors, and four respected contemporary artists: Rebecca Leveille, Ellen Sheidlin, Ellen Jewett, and Laura H Rubin. Each member of the jury has excelled in their respective fields and has made waves worldwide with their outstanding work.羅展鵬は2023年のBeautiful Bizarre Art Prizeの総合大賞を受賞しました。この賞は平面芸術、彫刻、写真、デジタルアートなど、さまざまなメディアやスタイルを対象としており、現実主義、超現実主義、ポップ‧スュレアリズム、ロウ‧アートなど幅広いジャンルが含まれています。今年は82カ国から145人の参加者が複賽に進出しました。参加作品の水準が高かったため、総決賽の選考人数は従来の15人から20人に拡大され、各部門の受賞者と、部門に分類されない総大賞の受賞者を選ぶことができました。羅展鵬の作品「永晝」は、油絵で、サイズは107.5センチ×170センチです。羅展鵬は1983年生まれの台湾人で、若いころから台湾で注目されるアーティストでした。彼は過去にARC Purchase Award、Portrait Honor Award、ARC People's Choice Awardなどを受賞し、2007年には奇美文化獎、2008年には高雄獎を受賞しています。また、彼はARC Salon、Sotheby's（2021年）、バルセロナ現代美術館（2021年）、ベルリン（2011年）など、世界中の機関でアーティスト‧イン‧レジデンスとして活動しました。彼はまた、ロンドン、東京、大阪、釜山、ソウル、モスクワ、シンガポール、台北などで開催された国際アートフェアに参加しています。羅展鵬の作品は世界中のギャラリーや博物館、コレクターに収蔵されており、ホキ美術館、ESMoA、国立台湾美術館、奇美博物館、United Culture Foundationなどで展示されています。羅展鵬の作品は主に油彩やインクを用いた肖像画に焦点を当てており、時間、歴史、生死などのテーマを探求しています。彼の鮮やかで精緻な肖像画は、観客に強烈でユニークな視覚的体験をもたらし、抽象的な概念を可視化しています。羅展鵬の総大賞受賞作品については、Beautiful Bizarre Art Prizeのウェブサイトで詳細をご覧いただけます。Link to the Grand Prize Winner of the Beautiful Bizarre Art Prize美麗奇異雜誌は、アーティスト、アート愛好者、コレクター、ギャラリーにとって最新かつ新鮮なコンテンツを提供する当代アートの雑誌です。Beautiful Bizarre Magazineは、120万以上のフォロワーを持つ非常に活発なコミュニティであり、志を同じくする情熱的な人々を結びつけ、魅了します。2023年のBeautiful Bizarre Art Prizeの審査員には、ギャラリー主、キュレーター、アーティスト、ビジネスや慈善アートのチャンピオンなど、アート界で影響力のある人々が含まれています。評審委員会のメンバーには、Danijela Krha PursseyとRichard Purssey（Beautiful Bizarre Magazineの共同創設者）、Haven GalleryのディレクターであるErica BerkowitzとJoseph

"The Aesthetics of Emotion".Realistic Paintings Depicting Women with Complex EmotionsRealistic paintings often depict figures, and among them are those that attempt to capture the inner emotions of the model, while others use poses to express a particular emotion or concept. Others still see the body purely as a material and aim to reproduce color and form within the constraints of painting.In this section, we have collected female figures by active realistic painters. What kind of emotions do these paintings convey? Not just facial expressions, but also poses and the overall atmosphere can express emotions. We invite you to take a closer look and compare them.Lo Chan Peng , born in Taiwan in 1983, graduated from the Graduate Institute of Fine Arts at National Taiwan Normal University.Represented by Gallery suchi, Gallery sumire, Arcadia Contemporary (USA), Beinart Gallery (Australia), COREY HELFORD GALLERY (USA), GALERIE BENJAMINECK (Germany), Verduyn Gallery (Belgium), Wanglandang (China), Shu Art Gallery (Taiwan), and Da-Guan Art Space (Taiwan).For purchasing information, please inquire.Exhibition information: "Secret Longings" (3/114/15 • COREY HELFORD GALLERY [USA]), "The NudeMystery of the Human Body" (7/6~7/12 • Artglorieux GALLEREY OF TOKYO)Lo Chan Peng 's works mainly focus on portraits, and his mediums range from oil painting to ink. In his works, Peng often explores issues related to time, history, life, and death. Through concrete and delicate portraits, as well as traces of wear, damage, burning, and dirt, he provides viewers with a strong visual experience, visualizing abstract concepts such as time and history, and transforming them into his own artistic vocabulary.複雑な情感を捉える　写実絵画の女性像　写実的な絵画には人物を描いたものが多い。その中には、モデルの内面を書き出そうとしているものや、ある感情や概念を表現するためにポーズをとらせているものがある一方で、あくまで肉体を物質として捉え、絵画という制約のなかで色や形を再現することに挑戦しているものもある。　本コーナーでは、現在精力的に活躍している写実画家たちの女性像を集めた。それぞれ、どんな感情、があらわれているのだろうか？　表情だけでなく、ポーズや、全体の空気感が感情を演出していることもある。ぜひじっくり見比べてみていただきたい。ローチャンペン　1983年台湾生まれ。国立台湾師範大学美術研究所卒業。取り扱い画廊/Gallery suchi、Gallery sumire、Arcadia Contemporary [米国]、Beinart Gallery[オーストラリア]、COREY HELFORD GALLERY [米国]、GALERIE BENJAMINECK [ドイツ]、Verduyn Gallery[ベルギー]、王蘭堂[中国]、曙畫廊[台湾]、大觀藝術空間[台湾]作品購入の目安/要問い合わせInformation Secret Longings (3/11~4/15 • COREYHELFORD GALLERY [米国]), The Nude~人体の神秘(7/6~7/12 • Artglorieux GALLEREY OF TOKYO)羅展鵬の作品は、人物の肖像画を主要なテーマとしており、制作媒材は油彩から水墨に及ぶ。作品の中で羅展鵬はしばしば時間、歴史、生と死の真偽に関する問題を探究している。具象的で繊細な人物の肖像画や、磨耗、損傷、燃焼、汚れなどの痕跡を通じて、観客に強烈な視覚体験を与えて、時間や歴史などの抽象的な概念を可視化し、独自の芸術語彙に変換している。

Lo Chan Peng stood out among 81 artists from around the world and was selected as the promotional visual for the exhibition, showcasing his unique aesthetic in portraiture.

Beautiful Bizarre Magazine and COREY HELFORD GALLERY present their 15th international curated exhibition, "Secret Longings." The exhibition features the finest artists from around the world selected by Beautiful Bizarre Magazine, exploring the theme of "Secret Longings" through their unique life experiences and artistic styles. The exhibition will open at Corey Helford Gallery on March 11, 2023, and continue until April 15, 2023.
Beautiful Bizarre Magazine is an international publication that focuses on contemporary art and photography and hosts multiple international curated exhibitions every year. This collaboration with Corey Helford Gallery marks Beautiful Bizarre Magazine's first exhibition in Los Angeles.
"Secret Longings" is the 15th curated exhibition by Beautiful Bizarre Magazine and their first collaboration with Corey Helford Gallery. In this exhibition, visitors can enjoy a diverse range of artworks expressing the innermost desires and longings of different artists through their unique styles and techniques.
The exhibition offers a wonderful opportunity to appreciate exciting artworks, learn about the life experiences and artistic styles of different artists, and understand contemporary art trends and styles.
Exhibition details:
Gallery name: Corey Helford Gallery
Curator: Beautiful Bizarre Magazine
Opening reception: Saturday, March 11th, 2023 | 7pm-11pm
Exhibition dates: March 11th - April 15th, 2023
Address: 571 S Anderson Street, Los Angeles, CA, 90033, USA
Phone: +1 310 287 2340

―One World―

august 20- September 3, 2022
“One World”
Steven DaLuz/Atsuko Goto/Kenichiro Ishiguro/
Lo Chan Peng/Yuko Nagayama/
Osamu Obi/Daniel Sprick

As a representative gallery of Japanese figurative painting, Gallery Suchi has invited famous figurative painting artists from Japan, the United States and Taiwan:
Daniel Sprick, Steven DaLuz, Kenichiro Ishiguro, Osamu Obi, Atsuko Goto, Yuko Nagayama, and Lo Chan Peng.

I am very grateful for the opportunity to have shared my work with all art lovers in Japan.
Thanks for the Gellery Sumire’s invitation and the Gellery Artglorieux’s venue.
I am very honored to be able to exhibit my work along with the talented Japanese artists. Japan and Taiwan have always had long and close relationships throughout the history.
I, myself, am very fascinated by the Japanese cultures.
The works of great Japanese artists ( Natsume Sōseki, Osamu Dazai, Haruki Murakami, Akira Kurosawa, Yasujiro Ozu, Hirokazu Kazueda, Morimoto Herbs, Chiharu Shiota and etc ) have nourished me in so many different ways.
Interestingly, my mentor is a follower of Mr. Ishikawa Kinichiro, who introduced watercolor to Taiwan.
Of course, this was nearly a hundred years ago. My work is influenced by my personal views of the world.
I am enchanted by the handmade paintings relating to many aspects of human history, beliefs or humanity.
I have just recently returned from a trip to European for my exhibition. I set a goal before my journey to pursue Leonardo da Vinci’s path. I visited Brussels, Ghent, Bruges, Paris, Milan, Florence and then Rome .
This experience enriched me with a more profound understanding of art, prompted me the concept of a recent American film: “Everything Everywhere All at Once”.
Anything and anywhere happens altogether at this particular moment. Through the interaction and fusion of various cultures and regions, I think there is no better form than painting if it is to happen altogether.
Because the paintings can place all on a 2D space: all humanity, history, religion, death, birth, the artist's life experiences, labor, sadness, joy, desire, holiness and depravity. I mean all.

This is beautiful, isn't it?

ART OSAKA 2022,
W-6 Gallery suchi Booth
July 9- 10, 2022
Preview: July 8
[Osaka City Central Public Hall 3rd Floor]
Exhibiting Artist：
Takaya Fujita・Hiroshi Ikushima・Kohei Koyama・
Lo Chan Peng・Kei Mieno・Ryo Shiotani

Lo Chan Peng used his admiration for the Japanese writer "Dazai Osamu" as the theme of his creation, and presented his work in Japan. He extracted Dazai Osamu's image from historical photographs and transformed it into a historical figure as he envisioned.

INTERVIEW QUESTIONS

Ｑ：Please clarify – is this the proper way to spell/punctuate your name: Lo Chan-Peng (with the dash between Chan-Peng)? I want to make sure that we publish it correctly.😊



Ａ：I’m from Taiwan, where the Pinyin system is used. “Lo” is my family name and “Chan Peng” my first name.
Many Taiwanese get themselves English names like Peter, Vanessa and so on. Yet, I aspire to be a pure artist, one that immerses himself fully in the world, and that is why I use the name I was born with. I fully understand, though, that it takes a little time for the western world to get Chinese names.

Ｑ：You’ve said that art has summoned you, which suggests that you regard the act of creating as a religious experience. What specific aspect of creating feels particularly sacred or holy to you (and why)?

Ａ：This is a question that rather falls in the grey area. I believe, what renders the creative process intriguing and appealing is the fact that you could never be certain whether it originates from the beyond (heaven?), from coincidence or from one’s own fantasy.
Ruminating in chaotic and hazy experiences, making sense of one’s own experiences, such I believe to be the charisma of art.
As for my own particular experience, that might be too long a story….


Ｑ：Have you always felt that creating is your sacred mission in life, or is that an adult revelation that is reinforced by your Christian faith?

Ａ：You may say that religion reinforces certain things; however, I’m convinced that it is fate, chance, and coincidence that plays a part with my “understanding and choice.”
Some ideas come from thought, and chances are that the mere temporal difference of a second before and after the occurrence of a single event might lead to diverse ideas altogether.
In short, I am not capable of arriving at a specific judgement in regard to your question. For me, judgement is like particles in the air, drifting constantly, which is why I always reiterate, creation is a kind of quest, and I am a traveler searching for something in the wilderness. 


Ｑ：Was there ever a point in your personal history when you were really close to deviating from your creative path, or do you believe that your artistic career is a preordained part of your fate? 




Ａ：Yes, I have undergone tremendous setback in life a few years ago, which is a long story. Eventually I returned to the creative path, and I believe in the existence of certain connection between the exquisite process in between and what implicitly lies under fate. I think there is indeed such a thing as “the script of life.”
Of course, as I’ve mentioned, there’re times when I feel myself to be the director of my fate while some other times I come to the sudden realization that I am a mere actor.
Again, human thoughts are wandering and intangible. That perhaps is the ultimate truth.

Ｑ：Which do you believe is part of your artistic fate: being an artist or being a very successful artist? Don’t you believe that you played a large role in your current level of success due to your work ethic and talent?



Ａ：Being a very successful artist isn’t something I can achieve with expectation. In Chinese, the phrase “Tiānshí dìlì rénhé” refers to the convergence of the right time, the right place, and the right people connection.
First I’d like to be an honest artist who loves art, enjoying his work, and leaving the rest to fate. Besides, I do not feel that I’ve attained “success” as many challenges lie ahead of me, and the pursuit of the better remains.
Having said that, if I were to become successful, I’d enjoy it and use it to serve others, creating a positive cycle. More often than not, worldly success does not necessarily come from one’s work ethics or the amount of efforts one makes. It might have something to do with talent, but every artist has their own path to follow regardless (,which is what LaoZi refer to as Dao.)

Ｑ：You seem to be a naturally philosophical person who cares a great deal about fulfilling - and maybe even surpassing – your potential. Which matters more to you: creating your next masterpiece or the quality of your creative journey?


Ａ：I’m not fond of making decisions. If possible, I’d like both, which would be a test of my own potential, and to exceed one’s potential is no easy task. I think it’s only when we have grown sufficiently to challenge our previous selves that surpassing is possible.

Ｑ：You’ve worked in many diverse mediums, but would you please explain why paint and canvas speaks so strongly to you? 



Ａ：As far as I’m concerned, in the foreseeable future, the act of painting by hand will become unimaginably precious. The warmth of the human hand transfers subjectivity on to the canvas; it is as if to look at a piece of painting, one looks right at the artist themselves. At the moment when we are heading towards the meta universe where everything is virtual, this skill will definitely take on more appeal and value.
Indeed, artificial intelligence can produce oil paintings, but its creative output is by no means affected simply because it experiences sudden exhilaration or despondency waking up in the morning. There is no “butterfly effect”. How this medium reflects the human hand is a fascinating property for me.

Ｑ：Do you intend to return to other mediums occasionally, or is oil painting your main calling? 


Ａ：I’ll simply follow my heart. Strictly speaking, medium does not make much difference to me. It’s a matter of suitability. It’s just at the moment I personally believe in how oil painting exquisitely mirrors the human hand.

Ｑ：Is the reason why you share your skills via Hsuan Chuang University and online workshops partially due to artistic summoning? Is igniting creative passion in others equally as essential to your spirit as manifesting your own personal works of art? 



Ａ：As I’ve said earlier, it is my belief that, once one is capable of more, it becomes equally important to serve others. Honestly speaking, I’m not sure how it is elsewhere, but I see huge problems with art education in Taiwan nowadays, and I’d like to render my service in this particular area. I hope more and more young people will be willing to return to the old system of apprenticeship, absorbing new knowledge and integrating it. Imagine using concepts of classical music to create electronic music.
A spirit in Japanese tea ceremony is to continuously formalize one’s tea-making techniques. I understand formalization is rigidity. but some kind of formalizing training allows tea-makers to feel, day in and day out, the different texture of tea powder pulverized at various speed and in various seasons. How will it taste if the tea powder is coarser? What’s it like to make tea on rainy days?
What I’m driving at is “the absolute thoroughness.” When concentration reaches a critical point, humans discharge their soul into the work in hand. Masters in all fields have reached such realm. When you gaze at Monet’s water lilies from his later period, it’s as if you can perceive his soul in it.

Ｑ：If a non-religious yet open-minded viewer studied your portraiture, do you think they’d be able to detect that it was created by someone who was summoned to bring art into the world?



Ａ：I have no idea. I believe he or she thinks and feels differently in the morning and in the evening and may well think differently again the next day. One needs to comprehend how everything in this world is invariably flowing and changing. A person can be holy one moment and decadent the next. To speculate other’s psychology is like guessing where a falling leaf might land.

That said, maybe after someone experience a certain event at a certain moment, he or she might really grasp what you’re saying after seeing my work.
I once met a girl from HongKong, who told me she was contemplating jumping off the edge of a tall building one day. In a daze, she was scrolling through Instagram when she saw my paintings. She burst into tears and walked downstairs to go home. When she mentioned this incident to me years after, I struck me how wonderful it is to be an artist, and that in itself is meaningful.

Ｑ：Do you paint to offer spiritual enlightenment to others?




Ａ：Yes, I believe a good artist means to reveal rather than to explain. Still, if an artist fail to aspire to that level, he or she cannot provide revelation, for which I’m still striving.

Ｑ：If the beholder notices nothing more than the remarkable aesthetic qualities of your work, do you still feel as though you’ve accomplished something noble?

Ａ：I love my audience whichever way they are.



Ｑ：Does being engaged in the creative process automatically connect you to a spiritual force, or is that energy an omnipresent part of your life, no matter what you’re doing? 



Ａ：For me, such spiritual force is tangible only while I’m creating or when I see great pieces of work.

Ｑ：You regularly use Jan van Eyck’s semi-transparent layering technique in your own artistic practice. Does that process imbue your art with far more spirituality?


Ａ：I did learn a lot from classical painting techniques; nevertheless, strictly speaking, those I employ now are not limited to a specific kind; instead, it is a system of my own integration.
This has a lot to do with an experience I had. For about four years, I stayed a recluse in the mountains. Painting became my daily life. From morning till night, as time went by, the material I was using became familiar to me. This process continued, until one day, I perceived how oil has become like my blood, pigment my body, and the brushes my fingers. I could feel when the paint starts to dry out at 2 in the afternoon when I lay down the first stroke at 9 in the morning. My perception differed from winter to summer, and from rainy days to clear days, and that’s when my own system came into being.


As for spirituality, I believe when an artist has done enough to enter a certain zone, his or her work begets spirituality. It is not necessarily a kind of skill. I recall when I visited the gallery that houses the work of Mark Rothko in Tate Modern. The soul-stirring power impregnated in the work is derived not so much from specific techniques as from something much more profound. What I mean is, a good artist invariably creates his or her own system.


Ｑ：Are the layers that you apply on canvas a symbolic representation of your presence within the fabric of art history?


Ａ：I do refer to art history, but the more important is my own journey. Art history is to me a bonfire reduced to ashes that I have passed by in my journey, and I’m aware that some great master once stopped by here.


Ｑ：Have you employed Jan van Eyck’s technique since the beginning of your

Ａ：I’ve acquired many kinds of techniques besides those of Jan van Eyck. They are all important nutrients to me. 



Ｑ：Creating nuanced facets of light is a notable aspect of your painterly signature. Is Jan van Eyck’s paint layering technique the only effective way to achieve that? If you contemporized his technique or stopped using it, would your aesthetic be compromised?



Ａ：As stated above, I’ve incorporated many different techniques. You ‘ll be able to see how my techniques are constantly changing on my website, where my work is arranged chronologically. As regard to your second question, I have in effect contemporized his techniques and am happy with my personal aesthetic improvement.

Ｑ：How time-consuming is it to create just one painting using his process? 

Ａ：Once again, I do not think I make exclusive use of his techniques.

Ｑ：Art lovers may appreciate the dark beauty emanating from your canvases, but there is a great deal of gorgeous complexity below the surface, too. When approaching each new work of art, do you consciously add aesthetic/cerebral/spiritual components or do they automatically manifest?

Ａ：This is rather interesting. I am often uncertain as to how I might change my picture at any given moment. The complexity definitely does not come from the cerebral element but from a part that is far deeper. No one can be clear as to how some random incident in the morning might have an effect on the decision one makes that afternoon. Therefore, besides myself, fate, weather and more conclude the components manifested in my pictures.

Ｑ：Which is more important to you – creating a cerebral or an aesthetically pleasing portrait and why? 



Ａ：Too many things are important, I’m not sure why a choice is needed. As a director, one must be equipped with the ability to fine tune and execute one’s concept. A painter faces his or her canvas in much the same way a director does his or her movies. I think carefully and make judgements in spite of the fact that it is often my body, instead of will power, that takes me through to the final finish.
The final completion of a piece of work relies on not just me at that moment but weather, season, locales, past memory, fate and my body collectively.
So, how do I make a choice? I’d have to consult other participants.

Ｑ：The beholder is offered a passageway to the deeper, raw truth of the human condition through your muses’ wounded eyes and physical imperfections. Why is emotional excavation far more intriguing to you than painting classical notions of beauty?



Ａ：First of all, the concept of “classical” you mentioned is the aesthetic evaluation present in European history during a specific time period, one that differs from the aesthetic we come into contact with nowadays. It did not come from any aesthetic or philosophical views of my native background, either. I am an artist from Taiwan, which partially inherited the aesthetics and philosophy of China. The fact that it is an island having gone through the rule of multiple nations (Japan, the Netherlands, Spain) influences Taiwan in different ways. Moreover, I travel and read as much as I can, which helps me access the value system, the aesthetics and the philosophy across geographical territories and time periods. In a word, I doubt my creation could be genuinely “classical.”
To me, all of the above is like a data base in computer hard drives; I reflect the human world at present through this information.

Ｑ：Your muses possess a spectral quality that makes it seem like they exist in an in-between realm. They appear broken in spirit but not quite ready to give up the ghost. How does impermanence and death figure into your artwork?


Ａ：I especially like the concept of “an in-between zone” you mentioned as I think it accurately pinpoints my idea. Life and death, chaos and order, piety and profanity, liberation and confinement, an incomprehensible gap exists between the here and there, commingling into a single entity. My creation is somewhere in between, a mysterious game before arriving at the other shore.


Ｑ：Is the ghostly element in your work equally as emblematic of the way that Taiwanese nationals feel about their cultural identity and beleaguered relationship with Beijing?

Ａ：Ha ha, a good question. It is an issue of complication, but part of your understanding isn’t far off. The current political complication of Taiwan imperceptibly shapes the Taiwanese character and has influence on the many choices we make. In the majority of situations, I consider this influence to be negative. It is beyond the power of an individual, and feelings of incompetence and insecurity more or less are fused in my work. What’s amusing is such observation as you’ve made will never have sprung up in Taiwan since they (we) cannot see their (our) own insecurity or confusion just as in Plato’s Cave.



Ｑ：Are you free to artistically express pro-Taiwan identity, culture, and political sentiments or does China have the power to impose a penalty upon you (such as being fined or blacklisted)?


Ａ：I am allowed free artistic expression just as China will go on doing what they do. Nevertheless, I’m not interested in the kind of sentiments in your question. As I’ve said, it will be in vain since this is a depraved world. I understand how some in the west might hope to see artists deliberately endorse ideologies, which is what some artists in China have intentionally done. Yet, the way I see it, this is but a conspiratorial structure, enabling each side to get what it wants, which is indicative of depravity.
Regardless of the above, if you examine my earlier art pieces, there was indeed a reflection of my identifying with Taiwan until I developed an aversion to the world’s depravity.

Ｑ：If a creative individual manifests work that is even partially grounded in nationalistic underpinnings, are they regarded as an art activist or a criminal? Do you see yourself as an art activist?



Ａ：Every individual is entitled to do what they think is right or do what they are interested in. However, in my view, nationalism is a fictitious concept. That one cares for the weak does not mean one cares only for those of the same nationality. Under the guise of nationalism, it limits one’s attention to one’s own race, which is of little point in the present era.
Is there the concept of race in Meta universe? Isn’t the fixation with nationalism not manipulated by an invisible hand?
I’ve considered myself a member of this world for a long time; I want to have conversations with the world and contribute what I can.

Ｑ：Have you exhibited in China? Would you like to exhibit there? Why or why not?

Ａ：I have exhibited my work in China, and I’d love to have exhibits there so long as good opportunities or sufficiently professional galleries should present themselves. There are just as many art enthusiasts and professional art workers and galleries like you and me in China. I’d love to travel to any place to collaborate with professionals to exhibit my art.

It seems to me, judging from questions you’ve raised, that you’re looking to resolve some major issue at once. But you know what? I think the issue is with every one of us. If all of us could have started with ourselves to nurture small gestures of good will and beauty, we would not have such problems these days. Try to appreciate small wonders might be a decent place to start :)

Ｑ：The weighty psychological aspect of your work brings to mind how someone might feel after experiencing a particularly soul-shaking therapy session – their inner truth bubbles to the surface. Is your dark style of painting therapeutic or does it emotionally drain you?


Ａ：I like how you interpret it. In my experience, the therapeutic property is there. Though I continue trying to find the answer to this day, which propels me to incessant creation. I am aware that the answer I’m searching for might not be located in this life time, but the search continues and it does not emotionally drain me.

Ｑ：Despite your deep rooted philosophical and spiritual beliefs, some interviewers say that a childlike essence still thrives within your soul. Is that accurate? What do you do to nurture your inner child?

Ａ：Childlike essence? I hope I do. Ha ha.
I do not do anything in particular to nurture my inner child. I just go on with my daily life.

Ｑ：When you exercise your creativity, is it joyful experience, a sacred experience, or a joyfully sacred experience?


Ａ：The experiences are pleasurable on some days, painful on others, and sacred on still others. Just like the coffee I made, it’s different everyday.


Ｑ：Isn’t it very challenging to honor your artistic intention - to create paintings that cannot be specifically defined - when your muses seem universally similar to all of us during our darkest, contemplative moments? 



Ａ：Exactly, there is bound to be difference between expectation and actual attainment. A person’s dream is not always fulfilled in their lifetime. It’s not that we should give up the pursuit; it’s the process that matters.


Ｑ：The natural instinct of humans is to seek meaning in things, so of course your fans want to define what your art really means. Do you appreciate the fact that people think on a deeper level about your work, even if the conclusions they make are ridiculous or completely incorrect?


Ａ：Meanings can actually be as simple as can be. Listening to the song of the wind and having a conversation with pigment on a paint brush are meaningful in themselves. Nevertheless, I’m more than welcome to conversations and thoughts on a deeper level.

Ｑ：It’s nearly impossible to appreciate your paintings strictly for their aesthetic beauty because it’s as if you offer the beholder a key to a locked room filled with mysteries. Do you regard your work as a pandora’s box begging to be opened by the viewer?

Ａ：I often expect my work to be like a mirror.



Ｑ：Many of us have been conditioned to conceal the fragility of our human existence from the world because it’s sloppy and ugly. What does it take to manifest a painterly perspective of inner suffering?

Ａ：I consider this a process of self-fulfillment, which is accompanied with beauty.


Ｑ：If you created a classically beautiful portrait, would you feel as you’re sleepwalking through the painting process rather than pouring your heart and soul into it? Would it lack the substance that you’re aiming for in your artistic practice?

Ａ：If I were to do this, I’d pause to admire my own techniques before fetching a good price for it! Then I’d invest the money in a studio of my dream. How I’d love to have a studio in New York!




Ｑ：Do you perceive your signature aesthetic as psychologically truthful portraiture? (If that is incorrect, please explain what you believe your signature aesthetic really is.) Is some of your emotional DNA imbued into each of your paintings?

Ａ：Psychologically truthful portraiture! I love the phrase!
I believe my emotional DNA is imbued into my paintings. I said I expect my work to be like a mirror, that’s because it is exactly that to me. It mirrors what I am at the given moment, and once again, how my emotions sway the final presentation of the work, along with other factors, is beyond my control.

Ｑ：How does your relationship with the muse you are painting change once you alter the surface of their skin with visible imperfections?

Ａ：Change is taking place any time. The way I had planned to go with a painting ten seconds ago might be completely different from that ten seconds later. It might be that within this ten seconds, some past memory flashes into my head, a random call or a song, the occurrence of an incident, sudden exhilaration or despondency, any of these might change everything.
But my relationship with her will never change; my works are my children.

Ｑ：Just how scary (or liberating, or therapeutic) is it to paint visible veins, wounds, or other marks on the visages of your subjects? Does that mark-making process ever feel too risky? Have you ever completely ruined a portrait?

Ａ：It is beautiful to me, so I see no reason for fear. What bewilders me is why it is scary for others.

Ｑ：Global culture commonly renders women invisible unless they rely on cosmetic and surgical interventions to address their ‘visual inadequacies’. Does the way that you choose to represent your female muses demonstrate your support of what they look like beneath the metaphorical mask?

Ａ：I disagree. I think every painting of mine is my own portrait.
It’s also my belief that men, woman or multiple genders have an effect on one another, and we should all try to be like children.


Ｑ：During the painting process, do you develop a unique bond with each of your muses? Does it always happen at a very different stage in the creation process?



Ａ：Put it this way, the process of painting is like a ship sailing in an ocean filled with fog. You can never know what’s around you, and only when you have anchored can you decide on what to choose next.

Ｑ：Do your muses possess distinctive personalities? At what stage in your creative process do you recognize that the paint on canvas has shifted over into something more?

Ａ：My muses are all me, my multifaceted personality. The pigment on the canvas is my flesh and blood.

Ｑ：Do you maintain a psychic connection to your muses long after you release them into the world or are completely detached from them?
Ａ：I often focus on my creation of the moment and think about what comes next because as I’ve said, the search is non-stop, but looking back occasionally at the path one has traversed is great.


Ｑ：If you study the faces of your muses many years after you’ve manifested them, are you transported right back to the emotional state you experienced during the creative process? Is that jarring or uncomfortable? 


Ａ：Not at all jarring or uncomfortable. I just treasure the time we had together.

Ｑ：Of all the wounds that you’ve depicted on canvas, is there one that resonates the most with you? Which one and why?

Ａ：There is a piece called the scream, which, of course, is named after Munch’s.
I have kept it with me to this day. It embodies such glorious emotional tension as if every stroke was spot-on. I regard this as the one piece to surpass in so as to exceed my potential.


Ｑ：Do you recall how you felt when you first laid your eyes on art supplies?



Ａ：A joy like no other.

Ｑ：You have achieved a great many career accomplishments and accolades for someone of your youth (despite the fact that you call yourself “middle aged”(!) In the United States, you are still regarded as quite young. We call people who are 50 years of age or older middle aged😉). When will you feel like you’ve reached/exceeded your potential…or will that ever happen?

Ａ：Reaching my potential!? You must be joking, I’m far from that. I’d like to go to New York to set up a studio where I expect myself to plunge into manic learning and work or collaborate with the best in the world.
I still have opportunities to uncover more potential, though, obviously, many challenges in reality must be solved. Hence, I work hard everyday.


Ｑ：I realize that you are a highly regarded, internationally lauded artist, but scoring your own Hennessy XO commercials to promote their Chinese New Year Special Edition seems so unusual and rare. Was it weird? Fun? Do you actually like cognac? Did they pay you for the time that it took to film that commercial with a lifetime supply of their liquor? (Or was this one of the 100 other commercials you’ve already filmed?!?)


Ａ：Hahaha, firstly, I’m not a highly-regarded or internationally lauded artist. Much more efforts are needed but I appreciate your saying it. I like cognac, and I’m also happy to film commercials for income. Like I said, I’d like to have a studio of my dream, but it does not come cheap.

Ｑ：The connection that you seem to have with your dog is extremely endearing, so I hope you don’t mind if I ask you a few questions?
Please tell me a little bit about your dog:

Ａ：Dog’s Name:Bruce Lee
Dog’s Sex: boy
Dog’s Age: ：9
Dog’s Breed:King Charles Spaniel
How did your dog end up becoming a part of your life?

There’s simply too much we have lived through together. 


Ｑ：Do you have just one dog in your household? (Or any other furry family members?)

Ａ：Yes, there’s only one though I must correct you, he is a hairy little person, not a dog.



Ｑ：Do you always paint with your dog in your lap? Does it help you to focus on your creative goals, or does it just offer you emotional comfort?

Ａ：I enjoy allowing him to be himself, so, as he likes staying on my lap, I got a bigger chair to make both of us comfortable.

Ｑ：Is your dog like your child? Does it sleep in your bed 😉? *(My cats sleep in my bed! No judgement – it’s the greatest thing ever!)



Ａ：How I wish he’d sleep by my side! Unfortunately he likes to sleep on the sofa beside my bed, and I respect his choice.

Ｑ：Are your painting efforts improved or enhanced because you share the experience with your dog?

Ａ：He shows and teaches me love, which makes me draw better.

Ｑ：You seem to take a very serious approach to creating art, using your mind body and soul to manifest each painting. Is that true? Are you so disciplined as an artist that you live, breath, eat, and sleep art? 


Ａ：Yes, but would that be so very strange? This is the way my life is and I enjoy it.

Ｑ：As cerebral and pious as you appear to be, surely you do ‘let loose’ and/or just act like a silly kid on occasion. What do you do to recharge your creative brain that is entirely ‘out of character’? (Do you tap dance? Cosplay? Knit ugly sweaters? Bake cookies?) Tell me about your guilty pleasures that make you as happy as a child!

Ａ：When I am away from a canvas, I’m usually laid back and love making jokes. I enjoy reading, movies. For a while, I was crazy about surfing. Still, nothing captivates me more than painting. I’ve tried to find a different passion, but I simply cannot leave painting. I often wonder if I have psychological problems. I hope not.


Ｑ：Despite it appearing as though you are a very serious person, the reasons you listed here (that explain why people might want to buy your “Be An Artist” tote bag) are really funny. Now I’m wondering if you have a very dry sense of humor (like someone from the United Kingdom)? Are you actually only artistically serious?


Ａ：No, my sense of humor isn’t the same as British humor, which I find much more wicked. Haha. Believe me, I’m a humorous person. My students often read my “bad” jokes on my personal Telegram.



Ｑ：Tell me a joke. Seriously! (What I’m trying to understand is….do you work very hard, but then do you flip a switch and you become the life of the party? Are you a comedian among your friends?)



Ａ：I may not be the most popular, but I greatly enjoy time with my friends.

Ｑ：Is there one aspect of your personality – apart from having a good sense of humor - that might surprise us? What crazy secret about you might your best friend tell us 😉?

Ａ：Oh, I cannot possibly tell you. Those who have my secrets are all happily in a new world. You know what I mean. 😉


Ｑ：Are you too hypercritical of your work? Do you always think that your latest painting is okay…but it could be better?

Ａ：There’s always room for improvement, but I confess a couple of my recent paintings are quite extraordinary.

Ｑ：What aspect of your most recent portrait gives you the most pride? (the translucence, the feeling, the aesthetic quality, etc.?)

Ａ：I’ve been experimenting destroying structure from real life on the canvas.
You’ll probably be able to see that I’ve been attempting this form for several years, but the feeling is becoming more concrete recently.

Ｑ：What qualities must one of your paintings have to make it absolutely PERFECT in your eyes? Will it ever be possible for you to meet your high expectations?

Ａ：This is a delicate question. My aesthetics is always undergoing adjustments as you can see from the changes of my work on my website. Personally I do not believe perfection to be possible. It is unattainable for human, but it is something to aspire to. What matters is what’s created and offered to others in the process.


Ｑ：What is your loftiest art goal and have you already decided when and how you’re going to make it happen? Is that the only thing that will enable you to die entirely happy and fulfilled?


Ａ：The loftiest art goal for me is finding, through art, what the Daoist philosopher, Laozi termed “Dao”, a path with philosophical and conceptual connotations.
This Dao sounds like a "road" in English,and it also represents the concept of "philosophy" or "thought"
 I seek it through my work on a daily basis. I can feel it, but it remains indescribable. The search for it is by nature fraught with equivocal disorientation seeing that an explainable Dao is not the true Dao. However, in spite of this lofty goal, I’ll die happy and fulfilled as long as I cherish those around me, render assistance to others, and make contribution to the world.

Ｑ：You believe that the plague, death, life, and sex are inseparable from each other. I am having a hard time understanding how sex and the plague are connected😉. Would you please enlighten me?


Ａ：Plague is connected to death, which is related to sex, at least that’s how I understand it. If a doctor told me I had only three more days to live, painting and sex would be the only two things I want to do. 😉

Ｑ：If one of your muses invited you to join them in their mist-filled in-between realm - and you had no guarantee that you’d be able to return to your normal earthy existence - would you be ready to take a leap of faith?




Ａ：As an artist, or a serious artist, one does not get to lead a worldly life. The artist I believe is a traveler wandering in the wilderness, pathfinding in an inhuman land. This is realization I’ve come to long ago.

Ｑ：At the bottom of your Beautiful Bizarre Magazine article, we will publish a list of the solo or group exhibits that you’ll be participating in from March 2022 to March 2023. If you’d like us to print information about your upcoming exhibitions, please provide the following details:

Ａ：
Group Show, 2022, Arcadia Contemporary, New York, USA
Group Show, 2022, Gallery Suchi, Tokyo, Japan
Group Show, 2022, Gallery Sumire, Tokyo, Japan
Group Show, 2022, Verduyn Gallery, Belgium
Group Show, 2022,Minimal Gallery,TaiPei

Prologue
As if trying to be rid of the mundanity of the world, he chooses to travel solo into the unknown with a rucksack on his back, paving his way through the plains at his own pace. The occasional company of a puppy on the journey is often silent, a silence that pierces through time and space, encouraging one to investigate, empty, reiterate, break away and reborn over and over again, as he tirelessly seeks for the hidden yet radiant child within himself through his paint brushes.

Content
He says: “One is always faced with the unknow, as if searching for a trail on a wild plain. The past masters may have already made the same journey, and I may find new directions from the ashes left from their campfires and continue to explore the path…I sense that making art is just like this.”

From the hyperrealistic figurative paintings of the early “Strawberry Generation” series which consist of bright colours with contrasting dark atmosphere to Lo’s recent abandonment of large-scale canvases and vivid colours in favour of unalloyed and tranquil compositions, one may wonder if he had changed. But as a matter of fact, he had not altered at all, he had simply chosen to go back to the purest beginning of his art. “There have been two different stages in my life. I had wanted to challenge the human capacity in pursue of perfection and grandeur, but now I work with the space, weather, season, temperature and humidity around me, for I want to deliver the “warmth of my hands” despite their flaws. The flaws are part of me, and they are also the charms of human as a species.”

The paintings of the so-called “beauties” in the public eye were simply portraits of friends within Lo’s social circle. Through the portraits of these females, the artist aimed to explore multiple social issues such as identity, nationality, economic inequality, as well as investigating the cultural significance that is unique to Taiwan as a nation. For he believed the question of “how to inspect oneself” has always been avoided in the Taiwanese society. It was not until a few years ago when he saw the photos of suffering children in war-torn Syria that he started painting children.

“I have been exploring my inner-self through my paintings in recent years, then I realised that I had not been painting those around me, for I had actually been painting “myself”; the Syrian children are almost like a part of me, what had happened to them are almost like part of my own experiences. I don’t mean the actual events, but the spiritual connections between us. The older I’ve become, the more I live like a child.” He smiles shyly as he spoke those words: “Is it a little embarrassing to compare myself, the middle-aged man to a child…” We both laughed, not at his so-called “embarrassment” but his willingness to expose his most intimate feelings and naivety.

“I think I now have a better understanding of this world and have realised how helpless I am in this vast universe.” As stated in the Bible, the devil roams the grounds in search for men he could devour; Lu Xun writes in his “Diary of a Madman” that everyone is looking for the opportunity to devour others under the covers of morality. He sees the charms and temptations of “evil”, which make this world such a wicked place! But of course, there are positive things on this earth, like the small yet precious “virtues” that so desperately needed to be passed on.

Clothing offers one confidence and satisfaction, whilst mobile phones provide convenience. Many jobs are beneficial to the men kind, but he often askes himself: “What does an artist has to offer the world?” On certain levels, art has been reduced to the lowest stratum possible, for when art is discussed in the so-called “sophisticated environments” around the world, it is merely about “numbers” and its decorative purposes on the walls.

“Art should not only be about negativities. My canvases cannot bring “warmth” to the viewers if I don’t improve my intrinsic qualities. I hope that one day my works would stop being so dark.” The warmth as described by him is not equal to brightness, it’s in fact something much more cultivated yet as nature as breathing. A painted paradise on canvas cannot be treated as the equivalent of warmth, whilst a wise man like the Dalai Lama not only inspires but also gives men the strength to search for inner peace without having to put on a merry façade.

Surprisingly, he has used the term “warmth” multiple times: “I think I am a rather frosty person; hence I would like to learn to be a kinder man. Perhaps my works would show more benevolence if I were more compassionate.” The artistic world is often very superficial; however, he is far more interested in enhancing his inner self as a knowledgeable, caring and gentle soul.” Just like radiation, the changes in the core would cause a rippling effect and slowly update one’s hands, techniques and theory…everything changes slowly in the manner of the evolution. An artist like this brings strong influences, impact and effect to the world in a positive way: “I want to become this kind of artist, and I want to see the world through his eyes.”

Men are fragile and easily struck by self-obsession, selfishness, inferiority, agitation and excitement. Physical or mental traumas break one’s balance in different forms. “My faith in Christianity has kept my spiritual balance, for I need an individual whom I could offer my gratitude to. As I walk on the road to success, I would still have a figure to remind me the importance of modesty.”

His parents were not supportive of his choice to paint, hence he started supporting himself during university by scootering from Yangmingshan to Yonghe to teach art after lectures almost daily. He would return to his small and damp room in Yangmingshan four or five hours later and continue painting and spent most of his weekends making portraits for tourists in Yingge. He chose to look at destiny in the eyes and embrace his passions for painting through determination when he should have been enjoying a little romance and his youth. “I hated my parents for a period of time, but then I realised all these challenges were the gifts from god, and they eventually became the nutrients to my artistic career.” This is the uniqueness of fate, for you cannot predict whether the future is going to be good or bad, and your choices would determine the outcome.

He speaks with a philosophical air: “The destiny actually follows a script, and it confirms that any decisions one may make are connected.” He met Isabelle Wen by chance, and he was so impressed by the elaborate and decadent interiors of the small garden on the third floor of ISA House when he visited a few years later that he chose to photograph a young girl as the model for an innocent painting in situ. This indicates the unspoken rule of karma, in which we endlessly reunite and part.

“She is so innocent that she is unaware of the world crumbling around her. With her raised feet and wind-blown hair, her naivety could fend off all the sorrows on earth.” Sisy Chen has described the painting with these words.

I met Lo Chan Peng on a fine afternoon. I imagined him being murky and gloomy, but he walked towards us like a cheerful little boy. During the interview, he sometimes acted like an artist, sometimes spoke like a thinker, but most of the time he was like a spiritual believer who was curious about the world and destiny. Listening to his favourite Nocturne No. 20 in C-sharp minor by Chopin, I can almost see him walking across a bitterly cold plain, his steps slow and heavy, but unusually calm. It is said that “becoming oneself is the sole purpose of one’s existence in this world”; he is searching for a glimmer of light as well as himself as the existing “inner child” on the wild plains. Despite the exhaustion of the body and the battered soul, I can however see the glistening child in the corner of his lips and his eyes. One does not travel backwards but instead aim to pursue the original self. In the wink of an eye, I can almost see the plains warming up.

author/Pan An-Yi, Director of Graduate studies, The department of the History of Art & Visual Studies, Cornell University


Being one of the most celebrated mid-career artists in Taiwan, Lo Chan Peng’s artistic talents have received international recognition. He was the only artist from Asia to have been invited to participate in Experience 03: Truth in El Segundo Museum of Art which is known for its experimental art. From German artist Albrecht Dürer (1471-1528), German Expressionist Max Pechstein (1881-1955) to household name Pablo Picasso (1881-1973) from Spain and American photorealist Philip Pearlstein (1924-). The fact that Lo Chan Peng was able to exhibit alongside these great maters indicates his status in the international art world. “Through extreme photorealism, he captures the conflicting society of Taiwan that struggles under the influence of sub-culture and the powerful as well as the true emotions of the young generation that live with enormous pressure and helplessness.” As reported on Lo’s Strawberry Generation and Ashen Face series.

Some dramatic changes took place in Lo Chan Peng’s life since the exhibition of 2013, in which he realised that he could not be satisfied with the confinement within the concept of “Taiwan”. He writes in 2018 when he unveiled his first painting from the Lumière series:

“Lumière is the third series I would like to focus on after oil and ink paintings, and I consider the only series without figures as laboratories. The series was inspired by a wall in my studio in Sanzhi. I had fallen into a difficult circumstance in life and for a period of three months I could not bring myself to do anything apart from reading in front of this wall, which was the view I saw every time I lifted my gaze from my book. The daily routine had become almost sacred, as if it could be anyone’s salvation. There was a boundless love between me and the wall. At such a moment, life and death, chaos and order, faith and blasphemy; the undeniable rift between here and the other shore disperses into thin air. My art drifts in between the shores on either side, for it is a mysterious game one plays before reaching the other shore.

May we all find the glistering light in our hearts.”

What kind of art does one call a painting by a renowned hyperrealist portrait artist that lacks human figures? What are Lo Chan Peng’s so-called “alterations” are in life? What powers do those “alterations” possess that he moved away from his attention to the young generation as seen in his Strawberry Generation and Ashen Face to a newly developed curiosity towards “holiness”.

The conflicting concepts and phenomenon of chaos and order, religious and blasphemy, liberation and captivity, here and the other shore; seem to have lost all logic? Lo’s conclusion of “May we all find the glistering light in our hearts” reveals the process of his art, or one could say, that he has suggested the metaphoric and religious concepts in the phrases he has used – “salvation”, “love” and “from here to the other shore”.

Why cannot help but ask “Why?”, “How?”, “When?” about an artist’s dramatic changes. Why this happened, how the process went, and when did a series of events take place. Most importantly, how do we understand and interpret the new symbols created by Lo Chan Peng from his artistic and personal experiences.

Background and Experiences

Born in 1983, the generation of young people known as the “Strawberry Generation” who are so spoiled by their parents that they cannot withstand any challenges. However, it is fitting to describe Lo’s childhood as a neglected and tormented “strawberry”.

Coming from a modestly prosperous family, Lo’s grandfather founded three department stores in Chiayi, which were then passed on to the hands of his three sons. As the economic environment changed, with convenience stores opening their doors in small cities and towns which forced the Lo family to retreat from the competitive market. Lo Chan Peng unwillingly grew up in a difficult situation due to the economic pressure and the separation of his parents.

He had not seen his mother since the age of two, and he had no memories of his mother for most of his childhood, until “one day during my third grade, the teacher walked into the classroom and said “your mother is here for you” that I saw her for the “first time”.” Despite their on and off connection, Lo’s mother saw his artistic talents and moved to northern Taiwan with him to pursue his dream of becoming a painter when Lo was in the final year of junior high school. “The relationship between my mother and I was at its worst, but it was her who opened the door to the artistic world for me.”

Should he had stayed in Chiayi, the only career Lo Chan Peng may have had was working for his father as a labourer, yet the challenge of having to adjust to a new life with his stepfather and half-siblings made his future seem unpredictable. However, he was grateful for his grandfather’s support of his move to Taoyuan, with the encouragements from his mother and grandfather, Lo begun to devote himself into art.

Like many artists, Lo sees his passion for art as a sacred mission, for he started doodling at a very young age and would often loose himself in drawing and become oblivious to everything else around him. He begun to hind in the world of art whenever he felt pain or wanted to escape from the challenging new environment. “I didn’t care about anything else besides this painting in front of me.” And this was how he spent his high school years.

Lo recalls that “I hardly had a normal day in my life, and I could not have continued with my art had I not met those who supported me. The teacher in the art studio refused taking tuition fees from me, whilst a mathematics teacher allowed me to stay in his house for six months during the time I retook the university entry exams.” With the help of these kind people, Lo Chan Peng was finally accepted in the fine art department in Chinese Culture University.

Lo Chan Peng continued with a life with limited budget during university years. Living in a small workers’ dormitory, he motorbiked to Yonghe after lectures to teach art before returning to the studio on campus to practice his sketching during the week and worked as street portrait artist in Yingge at the weekends. These experiences laid a solid foundation for his artistic career.

Despite his fascination on hyperrealism, Lo did not restrict himself creatively. He founded The Circus Art Group (2004) and participated in Hwa Kang Experimental Art Space (2005) to promote and explore experimental art. Upon his graduation from Chinese Culture University, he was immediately enrolled to Master of Fine Art degree course in National Taiwan Normal University. In order to establish his name in the field of art and pursuing a better life, Lo devoted himself to various competitions. His winning piece to Guan Hua Lions Club sketching competition of 2003 was acquired by the club, and from there he continued winning major art competitions and eventually led to the winning of Youth Diary of the Strawberry Cell Division 3 in the National Taiwan Museum, Taichung, as well as the top prize of the Kaohsiung Awards in 2008. At the age of 25, he was already a star.

Wanting to see the world and extend his knowledge in the art world, he made a critical decision of travelling around the world to see what is out there. As soon as he received the prize money for Union Culture & Art foundation, he booked himself a ticket to Paris, for he knew the essence of European classical paintings is in the Louvre collection, which he must see with his own eyes.

The trend for contemporary art in Taiwan during Lo’s studies was largely focused on installation and video art. With the contemporary museums and galleries favouring these categories of art, very few upcoming young artists were willing to work on their realist brushworks and for them, the Louvre was merely a tourist attraction instead of an essential visit to advance one’s artistic virtues.

Lo Chan Peng not only studied the old masters in Musée du Louvre, but also observed how contemporary art students copied and learnt from them. “I don’t think those students follow any particular “formula” when it comes to painting, they simply paint with careful observation and detailed understanding. They start with a hand or a head instead of drafting a complete composition and work in sections. It made me wonder if my paintings have been restricted within an invisible fence.”

Foundation

The fine art department in Chinese Culture University Lo Chan Peng attended played a significant role in the history of modern Taiwanese art history. During the 1990s when democracy was being vigorously fought for, the fight for democracy was vigorously happening fellow alumni Yang Mao-lin, Wu Tien-chang, Kuo Wei-Kuo, Lu Hsien-Ming and John Lu founded the Taipei Art Group, whilst Mei Dean-E travelled to New York for further studies before returning to Taiwan to establish himself as one of the most influential artists of the period. The group’s art was largely influenced by the current affairs, social changes and local history.

Launching his career in the early millennium, Lo Chan Peng’s topics focused on the Taiwanese society and certain groups within, which then led to the invitation to take part in the Truth exhibition. His approaches to the social issues are different from the older generation of artists who bear the heavy historical burdens originated from post-colonialism. Lo had intended to position the complex Taiwanese identity since his Strawberry Generation series, for the intricate historical background and geographical factors that are unique to Taiwan actually make it difficult to define the island’s cultures. “Since we can’t even describe what the young people should look and act, then I’ll paint exactly the way I am right now.” The pictures hint on young people’s fear for the political tensions between two sides of the Taiwan Strait. With the Ashen Face canvases, Lo Chan Peng goes beyond the surface to look deep into the inner self of the sitters and the emotions he himself has always been looking for: “What I look for in Ashen Face is something far more complex than the identity issues of Strawberry Generation, and of course, the paintings might also indicate the hidden accusation towards some kind of anger.” Through a social crisis one sees through the emotions within one, including various kinds of anxiety and paranoia.

Later, Lo realised the emotions he was experiencing was somehow “twisted”. “I could see through the twisted nature and realise my own distortion, for I had seen love. Just like Plato’s Allegory of the Cave, I had to see love before realising it was missing in my life.” Let’s use the “Black Hole Theory” as a metaphor: we cannot see the black hole, but as the whirlpool sucks in every matter (love) nearby, its existence is then proven. The kind of “love” mentioned here is not the “love” referred to the attractions between two people, but the kind of “love” that surpasses all emotions and is sacred, holy, pure and merciful compassionate in the religious manner. Lo Chan Peng compares his works to the act of breathing; each moment aims to recover one’s true self without disguise. So, what exactly happened to him that caused such impact hence triggered his interests in the exploration of the spiritual sublime? The artist’s statement on Lumière as quoted earlier in the article explains where the inspiration for the series originated. Now we know where the “love” and “salvation” are coming from, and how the All Mighty had been nourishing Lo Chan Peng’s art in recent years.

The perverseness of life and artistic changes

“My late wife died not loge after we got married.” Lo Chan Peng did not believe in god util he was shown various forms of wickedness through various religions ceremonies in the short months he spent in the hospital. Yet, the fact that a psychic friend’s predictions were realised forced Lo to admit defeat to fate. According to karma, “Life is a script and we are all actors who are forbidden to read it cannot read the script.” Lo had once turned to chanting Buddhist sutras following someone’s advice, he found peace through the process and the state of “trance” proved to be inspirational for the man: “It was a magical moment, as if time was descending like dust and my heart and body felt completely calm and content. It took every concentration to maintain this status, for one split second of distraction would allow all the pain and anxiety to occupy my mind. One could completely forget about time when suspended in the state of trance, and there is no difference between an hour and a second.”

It was then Lo realised that “In the script written by fate, art has lost all its meanings.” He was unable to pick up the paint brush for a period as long as six months, when he would stare at the wall from dawn to dusk, sensing the change from day to night. The religious publications such the Buddhist sutra, the Bible and Daoist books scatter on the staircase by the French window, but all failed to answer Lo’s questions which he desperately sought. It was in fact the nuance of sun light reflected on the wall that soothed and inspired Lo Chan Peng him; like he said, he had felt the “sacredness” in this ordinary scene from daily life, “as if it could be anyone’s salvation. There was a boundless love between me and the wall.” This sacred light eventually became the motivation for Lo Chan Peng to pick up the brush again with a brand-new perspective on life, the world and religion. According to Lo’s written statement, he had been advised to practice various religious acts such as copying the Buddhist sutra and had experienced the state of “trance”, yet with the quotation of the “holly spirit” and “salvation” it is clear that he would eventually turn to the embrace of a western religion.

Such a choice is not surprising at all considering he has always been familiar with Christianity for his mother is a devoted Christian and he had been going to the church since he moved to Taoyuan with his mother before he was eventually baptised. The educational system in Taiwan emphasis “sense” and “atheism”, hence for Lo Chan Peng “the world has always been a sensible, logical, cascading and Darwinian, where everything has been fully explored and will descend to nothingness after death.” Such a belief fits the world-renowned physicist Steven Hawking’s dying words.

It was not until his torturous encounters that he begun to contemplate on these experiences. He sighs for the “script” and the “foreshadows” fate has laid out for one’s life and the mysterious way the universe works. for fate has laid out for one’s life and applauds its mystique. With His experiences with multiple religions during the time spent in the hospital, he led him to ultimately choosing to follow his mother’s footsteps into Christianity. The western religion believes in god and the believers trust their lives to the All Mighty, whilst those non-believers may suffer from it.

There are differences between heaven and hell in Buddhist studies of “provisional teaching”, yet the “One Buddha Vehicle” believes in the “Mind-only” world where the road to enlightenment can be cleared with “faith, understanding, practice and realisation”. Whilst one only needs to “practice” and focus on the chanting of sutras to reach the “Holy land” in Buddhism.

Lumière

The series Lumière is the turning point for Lo Chan Peng’s life and career. During the difficult period he often sat on the stairs where “it received the brightest sunlight in the house”. He would sit there staring at the shadows on the wall and felt “a strange sensation that as if I had been forgiven, I was showered in love. Despite the fact that I was in a miserable situation, I could still see the hidden holiness.”

The turning point also indicate the transformation from humanity to godliness and material to spiritual. Lumière is a representation of a private space, and one could share the glory of god and his selfless love. This holy and spiritual display shown in the Lumière paintings offers a comforting and healing power, it is also the medium between the artist, the material and the spiritual worlds; the indication of the sublime life and humanity. It is between the light and shadows that Lo’s Lumière (oil on canvas, 122x130 cm, 2018) became a series that inspires one’s inner faith. The second canvas from the same series Lumière (oil on canvas, 163x113 cm, 2020) borrows the tall stained-glass windows as seen in Gothic cathedrals. The light falls on the crucifix through the windows, creating a sacred scene for the believers. The images of the Madonna and the Child on either side of the arch on top of the painting make an additional sense of holiness of the light.

Lumière can also be seen as the portal to the other side of the shore, as Lo Chan Peng states: “The daily routine had become almost sacred, as if it could be anyone’s salvation. There was a boundless love between me and the wall. At such a moment, life and death, chaos and order, faith and blasphemy; the undeniable rift between here and the other shore disperses into thin air. My art drifts in between the shores on either side, for it is a mysterious game one plays before reaching the other shore.” This series of paintings are not only the personal salvation for Lo Chan Peng, but also represent his desire to “pass on the salvation to as many people as possible, for this is the true purpose of my picking up of the brush again.” Being the only series without any human figures, Lumière goes beyond the surface for the artist knows is known for his hyperrealistic portraits.

Breaking the impression of Lo’s reputation as a fine painter, he had in fact participated in experimental art groups, for he had acted as directors of the Circus Art Group and the Hwa Kang Experimental Art Space in 2004 and 2005. The word “experimental” doesn’t mean the works they created were merely testers pieces but works that break away from the norm and traditional forms. Lo Chan Peng breaks away from the perspective of two-dimensional paintings and extended the composition from the surface to three-dimensional sculptures. Pulling away from the likeness of people, the artist is free to explore the meaning of “natural objects” and “abstract aspects” in a spiritual manner. Lo explains that “light contains multiple meanings, and I like to believe that it’s the door, the path to the other shore. Especially in Christianity, Jesus saith unto him “I am the way, and the truth, the life: no one cometh unto the Father, but by me.” To extend from this concept, everything I do is the medium, for my behaviour and my works would completely lose their meanings should they not lead men to the gospel, reveal the truth and steer to enlightenment. I believe these are what I paint for.” Lo Chan Peng reevaluates the meaning of his life and existence through challenging events, and these experiences have led him to fully enjoy life and not confine himself in a single area, painting the same subjects. With his travels and life experiences, the change of time and space have provided deeper understanding of the world for the artist.

From A Brief History of Time to the layering of spirits

Being a mixed media work that consists both painting and sculpture, and sometimes video and sound, the creative process of A Brief History of Time is very similar to Lumière in terms of its artistic form. Lo Chan Peng layers the order of time and the reiteration of space from a macroscopic angle, hence one could see A Brief History of Time as Lo’s attempt to open up international possibilities from a “Taiwanese point of view.” He has learnt from his extensive travels and has reached the peak of his career, physically and mentally, that “Taiwan is a place which easily limits one’s perspective. The narrow-mindedness is reflected on many aspects, geographically, historically, politically and especially on the press and our physiology.”

He realises that many concepts he has learnt in educational systems are fictional and restrictive. For example, the so-called nation is a fictional existence without physical borders. The reality as we know it is the product of political figures who try to manipulate the world. He explains that “The borders between many African countries are composed of straight lines or right angles which have nothing to do with natural geology…the borders are drawn by colonialist Europeans who had no understanding of African history, culture or race for their own greed.” The visible and invisible borders defined by men have restricted communication and one’s aspects. Looking back on the history of Taiwanese art, Lo Chan Peng recognised the community had always been “conscious of other people’s opinions that we are terrified of not being able to keep up with “the world”. This world refers to “the others as we see it”, hence we cut off all connections and reshuffle every ten years according to the latest trends and powers. As a result, no one could come up with a viable solution as the days and years go by in vain.” One travels the world to observe and accept different values in order to reinspect one’s own understanding and prejudices of others. Only then can one extend one’s aspects on the world. Lo Chan Peng cares for current affairs, and as a citizen of the world, his art needs to reflect on humanity as a whole. “Holography” is a technology that faithfully reproduces an object in its three-dimension form that contains all the accurate information. For Lo, he wishes to record the details of “time” and “space” of the human history. As if they have been unearthed from the soil, the two slabs of A Brief History of Time depict various objects from different time frames, from left to right, they “progress” to the modern world. The sculptures portray classical western buildings, Buddhas and sumo wrestlers from the east, modern skyscrapers and ferries wheels. The visible splatters and smears on the plates mimic the “water stains on the wall” technique in classical calligraphy. Geologically speaking, the history of the earth had been carved into layers of stones and soil long before the existence of men. The deeper one explores into the earth, the more the traces of history materialises. The multiple layers of soil and rocks tell the story of the entire planet, including every culture and every species.

Lo Chan Peng’s line of thinking is reflected on the medium he works with and the environment he works in: “The ancient oil painting technique “painting in layers” was established and popularized by Jan van Eyck in the first half of the fifteenth century. The word “layers” does not indicate the nuance of colours, but the physical layering of the paint. The unique nature of the oil medium enables dozens of layering, whilst each layer is interlocked with the transparency and opaqueness, creating optical glazes and material reflections. I have always pondered over the significance of the layering in relation to time, for the multi-layered rocks are the accumulation of thousands of years’ worth of time, presenting itself to the audience in the present. A thousand years of time had passed in a split of a second, just like what I have always been pursuing in my art.”

At the same time, as each painting takes a long period of time to complete, the change of the artist’s experiences in life, his emotions, thoughts and ideas on art are “sealed” into the canvases in “layers” of material paint and spiritual thoughts. These feelings and concepts layer up an image that form the facial expressions, gestures, colours and brushworks of in Lo Chan Peng’s paintings. “This is way beyond what I can describe in words. I think, the general visual ability allows me to achieve the most “spiritual” I could ever be, for what He says is so rare yet so rich.” He is particularly sensitive to the passing of time, for he often fully focuses on a single painting, and during that period, his feelings and experiences remain still whilst the time outside of his studio passes in the speed of light. He claims that he lives “with a very eccentric sense of time”.

Apart from the Lumière paintings and A Brief History of Time, this exhibition also includes works from the Children of Syria, Historic Figures and Portraiture series.

“Doubt” and “Art”

Before we continue with the new works by Lo Chan Peng, we must go back and reinspect how he merges religion and with art. In the statement for Lumière he describes a world of indifferences, for the boundaries and gaps between “life” and “death”, “chaos” and “order”, “pious” and “blasphemy”, “liberation” and “imprisonment”, “here” and “the other shore” would no longer exist. This surpasses the “eternal truth” and “the reality” known in Buddhism, but in Christianity, the faith practiced by Lo Chan Peng, the difference between “heaven” and “hell” and “god” and “men” are not to be mistaken. Hence Lo still holds doubts regarding religion, for his idea of “faith” requires complete devotion, yet he has too many doubts about this unknown world, and such unknown often contradicts contradict with his paintings, meaning the existence of “unfaithfulness” “irreligiousness” or even “blasphemy” within “piousness”, and “cruelty” within “compassion”.

Lo does not intend to create paintings that “eulogise” religion, for “men could easily reach the divine or be doomed.” The world should be more complicated, and the complexity can be represented by objects and forms which contradict each other to bring everything closer to the reality. The artist wishes the audience would be able to sense the complexity within his paintings and be inspired by them. Men learn through these differences and complicated issues for a better understanding of the hidden truth under the surface. As previously mentioned, the main components of religions are “faith, understanding and practice”, and in the case of Buddhism, “realisation” is also included. No religion could reach the so-called “the other shore” without passing the challenge of “faith”, for it is purely a written interpretation of the word. Even though Lo Chan Peng had once experienced such an enlightenment, it has not been proven to him, hence his doubts towards toward religions remain when he returns to the two-dimensional world. However, the doubts continue to inspire him toe to explore the mysterious world and he persists with the search to the other shore and his works from this stage of his life are “a mysterious game before one reaches the other shore”.

Based on such a foundation, Lo believes art is a container for the consciousness of the creators. “From the spiritual perspective we may break the boundaries and find resonance with art, however, for artists, art can also be seen as a tool for resonance, just like the golden candle sticks on a alter or the temple block used by a monk.” This is how art has become a medium for message deliveries that “it is my destiny to search for eternity before I reach the other shore. I want to become an artist who could not only afford to eat and buy properties, but also being able to see the view from a higher ground. I want to set a challenge to keep on excelling myself.”

Children of Syria

As Lo Chan Peng was trying to accept the cruel challenges set in front of him by fate, the increasingly difficult situation for Syrian refugees are happening on the other side of the world. The instability begun with the turn of the millennium, with the devastating shipwreck in 2011 in the southern Italian coast where 48 out of over 200 passengers survived, most European countries had settled with their Sectionalism policies and refused to take in any migrants, which then forced the survivors to temporary settle in camps outside of the European Union. News headlines were occupied with reports on migrants flooding into the area via land or sea, which became a major issue for the EU. The shocking image of the corpse of three-year-old Syrian boy Alan Kurdi on the Mediterranean beach within the Turkish border circulated the news on 2nd September 2015. The disturbing image of the dead boy in red caused an international stir and put a temporary stop on the western world’s ignorance on the humanitarian disaster. The Kurdi family were hoping to transfer to Canada in search for a new life, and the migrant crisis became one of the major issues in the general election in Canada of the same year.

Lo remembers that “the idea for Children of Syria was born from a photo of corpses of underage victims of the war, the pungent smell of death lingers in my head. I could see death and endless sorrows in the photo, yet it’s also full of life at the same time.” He immediately wrote to the local Syrian NGO to request for a clearer copy of the photograph, explaining that he’d “like to pray for the sufferers through my art”. They responded with a high-quality image promptly, and he thanked them by writing “May God bless you”. Their surprising reply of “May our God bless you” deeply moved him.

As a society with a liberal view on religion, religious differences rarely develop into serious disputes in Taiwan. Whilst the Mediterranean region had long suffered from religious conflicts which continue to disturb the order in the area. European countries’ reluctance to permit the migrants’ entry is largely based on the prevention of Muslim immigrants in case their religious and cultural differences may trigger undesired confrontations between the migrants and the locals. The recent incident in Nice where a French citizen was decapitated proves that potential terrorist attacks based on religious grounds may happen anywhere in Europe.

The Syrian NGO’s reply emphasis their religious differences, and the reply consists of layers of meanings, which are “not only based on time, but also religion, culture, nationality, race and gender. The way we are built cannot be transformed into language or texts.” The children living under layers of lies such as religion, culture, nationality, race and gender are whom Lo Chan Peng care the most, for “I know they are me and you.” Lo attempts to break away from all the differences and boarders in the Children of Syria series, to show his concern for those suffering on the other side of the planet.

The Children of Syria canvases were mostly created from 2018 to today. Lo had painted six works in the past two years, all in oil with one exception of Syrian Boy A in ink. The artist takes the children away from the scenes they belong, with the background cleared one could fully focus on the sitter. The sitter is then relocated in a reconstructed composition where “imperfect” and “blemished” brushstrokes are applied onto the hyperrealistic surface. The first work from the series, Red Boy from Syria (oil on canvas, 91x72.5 cm, 2018), the sitter’s face and the wall behind him are smeared with blood, and the top he wears is almost like the colour of blood too. The sense if incomplete is the artist’s method of telling a story without an ending with “complete description”. The artist deliberately leaves traces of “imperfection” as he explores this new subject matter, whilst each child stares into the spectators’ eyes and souls to question one’s morality. Pulling away from the restrictions of Taiwan, Lo sees the world from a worldly and humane perspective. The new canvas Syrian Boy B is a completely different work based on the same photograph. The only traces of red can be seen around the boy’s eyes and lips on this almost monochrome pallet. The paintings appears appear to be more “complete” in comparison to the previous work, yet the hint of imperfection remain – the accumulated paint under the child’s left eye, the blemishes on his left cheek and the traces of hair. The artist aims to inspire the audience to look beyond the surface through the contrasting and conflicting depictions.

He said, it has been finished (oil on canvas, 162x130 cm, 2018) depicts a girl with a vein extending from her face to her temple and the edge of the canvas. She stares into the spectators’ eyes, as if staring into one’s every move and thoughts. thought. She hides her left hand behind her, creating a tension between two sides of the canvas, for more physiological communication is required between the sitter and the audience.

Two figures carrying a cross and a machine gun respectively can be seen in the background. Under the “command” of Jesus or one’s own god, the people living around the Mediterranean have been trapped in wars for thousands of years. Without a way out, the migrants and children of Syria are the victims of historical conflicts.

Moreover, the head of a pale boy with lifeless eyes is supported by a pair of adult hands, as if forcing his gaze towards the spectators. The vision of the boy is deliberately scraped away by the artist, the blood-stained eyes and lips hinting that it is a corpse of a boy who was once full of life. The smear of blood by the corner of his lips and face is the accusation towards the cruelty of fate.

All the Syrian children portrayed in Lo’s paintings return the gaze of the spectators with direct eye contact, that is when the disagreements between cultures, nationalities, races and languages vanish, leaving only the contemplation of humanity when one is forced to reflect on one’s prejudices and discriminations. When Alan Kurdi’s lifeless body was washed ashore, men were imposed to temporarily abandon their biases to face the tragedy of human beings. Lo Chan Peng states that “I know they are us, and they are you.” It is not simply a mirroring of his unhappy childhood, but a reflection of his Christian beliefs in “love” and the “spirits” that stimulate people’s sympathy and empathy. Wounded Syrian Boy (oil on canvas, Diameter 68 cm, 2019) is covered in scars which indicate his traumatic experiences. The bandages cover most of his forehead whilst his left eye blurred by the deliberately applied thick paint, leaving him with one eye to glance at the viewers. Lo Chan Peng puts a footnote on this particular work: “Silence is language of God, All else is poor translation.” Evidently, a powerful image outweighs any written narrative. Lo feels that these children could be us who are raised in Taiwan: “Even though we did not suffer from wars, yet we lived under the shadow of wars for six or seven decades which was also a struggle. We are the products of fate, and I paint the likeness of the time to express the glory of humanity.”

If the Children of Syria are the records of those who were manipulated by history and sacrificed their lives for history, evidence of their existence would only be records in nameless figures. On the contrary, every sitter from the Historic Figures have been significant history changers.

Historic Figures

Breaking away from the limitations of Taiwan, so far, the sitters in Lo Chan Peng’s Historic Figures are significant figures in western history, including politicians, religious leaders, philosophers, revolutionaries and scientists. The subject matter clearly indicates Lo’s thread of thought similar to the order shown in A Brief History of Time. From the age of Gods (The Pope, oil on canvas, 27x35 cm, 2019) to Darwin’s Evolution (Charles Robert Darwin, oil on canvas, 27x35cm, 2019), the survival of the fittest, the natural selection and the law of the jungle have always been the norm of the world. With better understanding of the species, the anthropocentricism driven capitalists worsened wealth inequality whilst the world suffered from imperialism and colonialism, which then led to the damages in natural environment and the climate to an extent that is almost uncontrollable. The contrasting publication being Karl Marx’s Capital (Das Kapital) (Karl Marx, oil on canvas, 41x31.5cm, 2019), the criticism on capitalism inspired global left wing revolution, including the July Days of Russia, the communism of China, Cuba in Central America and the left wing revolutionary Che Guevara (Che Guevara, oil on canvas, 27x35cm, 2019).

Politian Winston Churchill (Sir Winston Leonard Spencer Churchill, oil on canvas, 47x47cm, 2020), former Prime Minister of the UK represents the counterattack against Hitler and the Nazi. Churchill once said: “At Certain Moments, we are no longer ourselves, but the sum of minds.” Indicating the United Kingdom’s determination to “defend our Island, whatever the cost may be” and “we shall never surrender”, “Until, in God's good time, the New World, with all its power and might, steps forth to the rescue and the liberation of the old.” The mention of god originates from the western background in Christianity, whilst he and his fellow leaders were facing an unprecedented catastrophe – the fight against Nazismus. A burden at such a scale exceeded what men could bear, hence they had to reach out to god for moral support.

The portrait of Churchill shows his determination for justice and fairness, in contrast to the potential restoration of the evil and darkness. Being the leading figure that represents liberty and freedom, President Lincoln (Skull Study of Mr Lincoln, oil on canvas, 98x78cm, 2020) played a key role in the abolishing of slavery in the US and contributed to the multi-cultural society that we know today. On the contrary, the outrageously arrogant Donald Trump compares himself to Abraham Lincoln and claims he is the most productive American president since the man. Yet he is an expert in promoting Populism, provoking crimes based on racial differences, and has also refused any criticism on white supremacy. Having recently been defeated in the latest presidential election, the man completely ignores the Covid-19 pandemic, leaving the citizens to suffer from lack of medical and social care, whilst congratulating himself on his so-called achievements. The number of the Neo-Nazi supporters in Europe and the extreme right-wing advocates in the US have been on the rise, threatening the social order and religion in value established after the Second World War. Whether history is to repeat itself depends on if mankind has the determination and will to battle the restoration of the evil.

The Historic Figures are individual paintings which are connected by the artist’s aspects and expectations for the history of men. The first group of sitters represent the vertical history, from godliness to evolution, the anthropocentricism driven by European countries and which led to imperialism and colonialism, before the establishment of capitalism and socialism. This weighty history is told via merely a few paintings. The second group of the sitters such as Churchill and Lincoln symbolise the strong contrast between the brightness and the goodness against the dark and evil side of humanity. The extreme contrast between the portrayed and the ignored (not portrayed) is a warning sign to the protentional reiteration of history.

A non-political scientist like Einstein (Albert Einstein, oil on canvas, 27x35cm, 2019) signifies a transition in men’s understanding for the universe. Since the discovery of Newton’s law of gravitation, scientific progress had not been put on a pause. The theory of relativity developed in the twentieth century states that everything is relevant to each other and anything occurs due to the influence of another being or multiple phenomenon, for there must be a cause to every incident. A Buddhist saying could be related to this theory: “dependent origination and the emptiness of nature”, for all the materials and phenomenon are realised due to a certain cause. Changes as nuanced as a nanometre can cause a completely different result that everything is constantly changing, and nothing remains the same forever. Even though “material” objects are the main subject to “the theory of relatively”, it can almost be applied to philosophical or even religious circumstances. As the knowledge regarding Higgs boson develops, connections with Buddhist studies on emptiness have been made. The circular collider was built in Switzerland in search of the so-called “God Particle”.

The historical figures made an impact on history for they had once possessed of the charms to lead men toward a respectable direction. Lo’s choices display his concerns for globalisation, capitalism, wealth inequality and extremism which may rock the world. “One could no longer face the core of the problems sensibly should mankind fall into the trap of extremism. Under such circumstances hatred would simply take over and terminate all possible communications.” Those politicians Lo does not care to paint can only be reflected on contrasting examples, in the manner that he states contemporary art is “a mystique game that one plays before reading the other shore.” The brightness of the future is highlighted to indicate and warn the spectators of the potential fall of astonishing darkness.

Those portrayed by Lo Chan Peng have been the pioneers in history, leading mankind towards the future. He writes: “They existed like light houses by the sea, yet they are now dying campfires on the wild plains whilst we wander in the wilderness like beasts. We may see the fires from afar, yet when we look closely, the fires are dying, and we have lost all sense of direction without the leaders.” The pioneers are like dying campfires, so are Lo Chan Peng’s paintings.

Taking historic figures as subjects of his paintings, he avoids the dangerous act of hero worshipping, and at the same time, alerting the unfortunate outcomes of enforcing a restriction on free thinking, let it be Marx’s Capital or the Surveillance Capitalism we see today. “As an artist, what I can do is to keep my distance.” As a matter of fact, Lo has also been studying the “invisible net” and how it is related to historical events. The meaning of a historical event is often given a new meaning when it is transferred into a different space of time according to political demands, which refers to “the death of the author” of Postmodernism, emphasising the privileges and rights of the author. The stature of Historic Figures would continue to be altered and redefined in the changing current of history, that even the same figure is seen and judged differently in different regions within the same time frame.

The most controversial among Lo’s Historic Figures being Argentinian left-wing revolutionary Che Guevara (1928-1967). Even though he was eventually executed for his act, he was seen as an idol who fought capitalism and wealth inequality by the participants of the Paris protests in May 1968. The left-wing student protesters not only worshipped Che Guevara, they were also keen readers of Quotations from Chairman Mao Tse-tung. Lo Chan Peng received a few messages from young people across the world, criticising his portrayal of a man who they consider as a mass murderer. It is then he realised that capitalists have replaced revolutionary figures as the heroes for young people, especially those who work in the technology industry. With “Dependent Origination and the Emptiness of Nature” being the true nature of history, the instability of the human nature also proves “the whirling life and floating souls” that alter history. The hovering lines and particles reflect the never-ending changes in the world, where people gather and separate, life and die, success and fail; these matters are complicated with their multiple meanings which cannot be described by language.

Children of Syria portray those anonymous victims of history, whilst Historic Figures record the lighthouse figures who were pioneers in their time. The two series of paintings are the results of Lo’s breaking away from the restrictions of Taiwan and his announcement of his mercies and care for the world from a global angle.

Portraiture

If one could say that the Children of Syria and Historic Figures developed from the concept of A Brief History of Time are accusations of the world out there, then the Portraiture series is an observation of the human weakness from a religious point of view. The series consists of several portraits of female sitter, but in fact they are represented by a single woman and one girl who are frequently placed with plants which conceal clever hints from the artist.

The first group of “them” suffer from physical pains originated from their failure to comply with the pronouncements of religion, it is also an indication of the superiority of godliness from a human perspective. The paintings can be arranged in the following order to narrate the meaning and story behind them: Saint in the Shadow (oil on canvas, Diameter 130cm, 2020), Eve’s Garden (oil on allinpanel and canvas, Diameter 60cm, 2019), Prophetess Under the Shades (oil on canvas, 197x150cm, 2018), The Silent Observer (oil on canvas, 162x97cm, 2018), Verdant Life (oil on canvas, 162x112cm, 2018), Modlitwa Dziewicy (Polish) – The Maiden’s Prayer (oil on canvas, 116.5x91cm, 2019), Breeze from the other Shore (oil on canvas, 91x116cm, 2019). All these figures are the representations of Eve, indicating the original sin and the “imperfection” men are born with.

The story starts with the Bible. According to the Bible humans only exist because Adam and Eve had taken the forbidden fruit. First of all, Adam was the first man ever lived whom God had created from his own image; he then used one of his ribs to create Eve. Adam and Eve lived in the Garden of Eden and were warned by the God that they were free to taste all the fruits in the garden except for the ones from the Tree of Knowledge, otherwise they would face death on the day they put the fruits against their lips. The artful snake tempted them to take the fruits by persuading them the fruits would brighten their eyes and help them define the evil and the good. Eve took a bite of a fruit before passing it to Adam. They were then exiled from the Garden of Eden and start a life of “earthly” sufferings for they had fallen from heaven to the moral world (earth).

Due to the religious oriented history of the European states, it is a subject frequently depicted in churches. The earliest surviving example is the altarpiece in Saint Bavo Cathedral in Ghent, Belgium. Adam and Eve are positioned on either side of the altarpiece and are the only ones in the nude to highlight their shame and humiliation. Masaccio’s fresco The Expulsion from Paradise in Florence, Michelangelo’s The Fall and The Expulsion from Paradise in the Sistine Chapel, it was one of the favourite subjects of Renaissance masters, Raphael, Dürer and Titian had all been inspired by the narrative. The story is recorded by artist throughout history to remind men the importance of the power of god and our original sin.

The narrative contains multiple morals – God reminding us that men were created by asexual reproduction through the hands of God. The beautiful and paradise like Garden of Eden is the home to countless animal species and plants, and the only condition the then innocent and carefree Adam and Eve had to comply with was not to take the fruits from the Tree of Knowledge. Western paintings often portray the couple in their most shameful moment when they were expelled from the Garden of Eden. Since Adam and Eve were the products of “asexual reproduction”, “humans” did not need “sex” and were carefree of death. Yet Adam and Eve had chosen to become the slaves of lust, hence all the humans carry the same original sin and spend their lives trying to be rid of it by following the strict religious orders to show their piety and hoping to be admitted into paradise one day. Catholicism and Christianity treated the tale of Adam and Eve as an inverse action to admonish believers to obey the orders. Scientists such as Copernicus and Galileo who doubted the religions orders in favour of their scientific discoveries were condemned by the Church. The conflict between knowledge and the power of god was so great that God warned men not to eat the fruits of knowledge. According to the Bible, those who had tasted the forbidden fruits had the ability to define the good and the bad, hence “men” became conscious of independent judgements and were able to gain and produce knowledge.

Speaking from a different perspective, the only difference between “divinity” and “humanity” is the ability to gain, produce and define “knowledge”, is “knowledge” good or bad? Perhaps a different explanation may be given should we apply a Buddhist theory. “Self-awareness” has never been discouraged in Buddhism, for from the concept of “heart”, everything is the product of “self-awareness” and Buddhist studies had explained the origin of consciousness and how one is tempted by “misconceptions” and “desire” hence cannot escape from the pains of reincarnation.

In Buddhism, the concept of the universe is purely based on one’s “heart”, for one’s “world” in composed by the “six roots” (eyes, ears, nose, tongue, body and mind) which one experiences the “six senses” (sight, hearing, smell, touch, taste and mind) with hence realises the “six consciousness” (eye, ears, nose, tongue, body and mind). These senses are known as the “eighteen elements”. The six consciousness are considered as the beginning of the learning process according to “citta-matra”, whilst men’s ability to judge is hidden within the seventh consciousness (the “subjective self” which one gains from past experiences and social norms). That is to say, the consciousness raised when one comes in contact with the outside world, or when one reflects on oneself. The seventh consciousness “recognition” is the survival instincts for humanity. For example, one could tell from experience that tigers may attack, hence one panics and tries to escape when encounters the animal. Yet, such distraction also means that the self-centred men ruthlessly hurt others to fulfill one’s desires. This creates differences between worlds of “self and other” and “subject and object”, which are the origins of our sufferings.

Should we see the moral behind Adam, Eve and the Forbidden Fruit with this concept, the relationship between “the forbidden fruit” and “differences” as raised by western religions reveals the origin of “greed, anger and foolishness” discussed in Buddhism, and refers to the “original sin” in Catholicism and Christianity. The differences between the western and eastern religions are that Christian beliefs cannot get away from “dualism” for the God is worshipped from afar; whilst Buddhism believes that “humanity” and “godliness” are two sides of a coin, hence one is encouraged to achieve enlightenment by studying and meditating.

The three paintings included in this series depict “Eve” under the “shades” – Saint in the Shadow (oil on canvas, diameter 130 cm, 2020), Eve’s Garden (oil on allinpanel and canvas, diameter 60 cm, 2019), Prophetess Under the Shades (oil on canvas, 197x150 cm, 2018) and The Silent Observer, oil on canvas, 162x97 cm, 2018). The Tree of Knowledge is seen as the symbol of “temptation” in the west, it is the key element that turns the “divine” into “humanity”. All Saint in the Shadow, Prophetess Under the Shades, The Silent Observer present the conflict between temptation and resistance. The struggle within their physical existence, clothed or in nude, are shown through Lo Chan Peng’s delicate brush works.

The mysterious flowers growing out of the skull of an animal held by a young woman in Verdant Life indicates the cycle of life and death. The “Tree of Knowledge” above the girl’s head and the vines wrapped around her shoulder all represent the toxic desires that extend their roots into our consciousness and eventually take over our entire beings. There is no life and death in the Garden of Eden in the Bible, and the only way to maintain that is not eating the forbidden fruit and unable to define rights from wrongs nor being capable of “conceptualisation”. The encounter and struggle between “humanity” and “godliness” take place in the young woman’s head, for she’s preoccupied with desire and trapped in the dilemma between immortality and mortality.

The title Modlitwa Dziewicy is taken from Polish composer Tekla Bądarzewska-Baranowska’s (1834-1861) celebrated piano piece. The original title can also be translated into “the maiden’s prayer”, which indicates the temptation of lust or a warning from the Buddhist explicates, or, Eve’s struggle and hesitation before taking a bite of the forbidden fruit. The Breeze from the Other Shore indicates the calling from the “other shore”. As Lo Chan Peng hints in his Lumière paintings, he wishes to seek for answers in religions as well as in his devoted Christianity. The “other shore” mentioned here in fact fits the Buddhist description of “The Simile of the Raft” in the Diamond Sutra. Lo has also revealed that his art is a “mysterious game” played before one reach “the other shore”. He also emphasises that life and death, chaos and order, piety and blasphemy, liberation and imprisonment had created a “enormous gulf in between” “indifference” and “two-dimensionality”. These portraits are immersed in such ideology which leads them into the mysterious game of “godliness”.

The female sitters may spiritually aspire to holiness, for they represent them, who are also the representation of all of us. This is a picture of perfection for Lo Chan Peng and his idea of the world. However, the co-existence of hope and holiness in contrast to blasphemy and liberation is the struggle for all humanity. The artist applied the painting in layers technique on the sacred females’ skin to underline the toil – “adding find threads of vein, over emphasising the eyelids or applying unreasonable layers of paint on the skin which is meant to be smooth and perfect.” Lo explains: “I often wonder, we could be sacred for a second or ten minutes, but the human nature cannot retain such sacredness for an hour, a month or a year, for we live among unavoidable darkness. Under such circumstances I would like to attach some contrasting elements, for I want to highlight the wickedness in disguise under the holiness.”

Another sub-theme within the Portraiture series take little girls as the subject matter, including An Angel Taking Flight from Armageddon (oil on canvas, 107x170 cm, 2020) and Skrik (oil on canvas, 60 cm diameter, 2019). Lo intends to take the viewers back to the natural forests or wild plains, and what could this mean?

He intends to take the spectators back to where we started to refer to the struggles in each of the “portrait”. Lo sees the origin of all “struggles” as one’s “consciousness”, for he regards it as a state one feels while tipsy from alcohol. However, the Buddhist philosophy of “citta-matra” is replied upon for explanations. It was mentioned that one feels the world (six senses) through sensual organs (six roots). The first to the sixth senses are what is required to learn about the world, whilst the intervention of the seventh sense is the beginning of “definition”, in other words, judging from past experiences, starting from the “sacred” to the “mortal”.

With the acquisition of “consciousness”, men also gained the ability to define mortal matters as well as inventing languages for better understanding of the world. Each object is placed in suitable positions since they have been given names. Yet the concept of “solidity” and “borders” are established at the same time. It can also be interpreted as “collective consciousness” or “collective karma” which then leads to the conflicts between men due to racial or other differences. The evolution of human history is based on conflicts like these. From nineteenth to twentieth century, we saw the rise of Imperialism, Capitalism, Nazism and Japanese Imperialism, which brought out the darkest side of men. Lo Chan Peng understands that “consciousness” derives from desire; hence one needs to trace back to the origin of “consciousness” which is then represented by the forests depicted in Lo’s paintings. He agrees with the Buddhist theory that the human “consciousness” can be separated from one and survive independently in the outer world. This also makes it an untainted land where on one would be able to “occupy”. It is a pure, extensive, clear, superior and out of the world place that cannot be described in any language or materialized, and it exists above any structure based on language or text. In Lo’s words: “consciousness is like a clear-headed person who observes the floating, crisscrossing, merging and extending condition.” In the world of consciousness, the concept of anything is undetermined, speculative and variable according to karma.

Lo Chan Peng deliberately places the innocent looking girl among the Amazon-like primitive forest. It indicates the sprouting of the consciousness in an unclear and chaotic condition, and on the other hand, the slightly vicious look in the girl’s eyes remind the inner struggles in every man. Lo explains: “I have taken the name of Baudelaire’s volume of poetry, Les fleurs du mal, as the title of this painting. I have reflected myself on this child, despite being a middle-aged man, I see myself in her. Looking back at my childhood, I often feel that mine and the common desire in men is like a living plant. It roots itself in one’s mind in silence and continue to thrive, extend and grow verdant branches. This work is my take on desire.”

Skrik depicts a screaming girl on a circular canvas. It is a conversation between Lo Chan Peng and Norwegian artist Edvard Munch as well as a reflection of his opinions on our time. Munch saw the rise of the Industrial Revolution and Capitalism during his time, when the value of the working class was defined by their restless mechanical and repetitive work in factories established in the new society. The philosophical theory of “Existentialism” claims that the reason to the existence of men cannot be answered by rational thinking, and it also encourages independence and subjectivity. The contrast between reality and philosophical thinking can be seen as the footnote Munch has written for his classic work Skrik.

Lo Chan Peng has also observed that the working class today still live as small cogs in a giant machine known as the world, hence the society has not changed with the passing of time. Factories that produce iPhones and cars still treat the workers as machines: “I can see an endless line of iPhone shells; I place a mainboard in a shell as it reaches me on a conveyor belt and repeat endlessly for days and years. When a man is trapped in the same condition for ten years, one could not help but self-doubt – is making an iPhone the purpose of my entire existence? When such doubt occurs, we also wonder if independent thinking and consciousness are also required.” Finally, Lo questions the reasons for God to have created men, and if God exists at all: “For me, Munch’s work reflects the self-doubt of the people of his time and the doubts and screams toward the existence of God. This year has made an incredible impact on me (including the Covid pandemic), and this is a conservation between myself and Munch, a scream to 2020.”

Lo has introduced some technical changes to his canvases. Technically speaking, like other works included in this exhibition, he is not only capable of creating complete and solid compositions but also manages to release the trapped energy as if in an explosion. The flow of the brushstrokes mirrors the power of life and how it bursts when one encounters uncontrollable events. The force that damaged the girl’s eye is just like the conflicting power that has always existed, it covers the eye of an innocent little girl in an explosive way that is shown in the sitter’s scream.

Conclusion

2016 was a peculiar and decisive year, for the callous fate had rearranged Lo Chan Peng’s life as a man and an artist. From an artist who cared for “regional” development to one who is particularly attentive to all humanity, his exploration begun with material matters and natural phenomenon and slowly developed into “spiritual” and “intangible” goal of the other shore. He understands the challenges and struggles on a journey from humanity to the “godliness”, he says: “My faith in Christianity has kept my spiritual balance, for I need an individual whom I could offer my gratitude to. As I walk on the road to success, I would still have a figure to remind me the importance of modesty.” 

Being the first series of works Lo developed after that period of time, Lumière announces his close connection with religion. These paintings are the only ones that depict no human figures, for they record the intimate conversations between the painter and his faith and how he received “love” and “salvation”. Lo declares that his works are “the mysterious games played before one reaches the other shore”, and the Lumière pictures are the starting point for him to regain confidence after the traumatic experiences, and since then he had a brand-new view and is ready to tell a new narrative.

Lo Chan Peng compresses the human history via a crisscrossing of time and space in his double panel A Brief History of Time, and from which he developed two series – Children of Syria and Historic Figures. The two set of works are delicately connected through the topic of fate. The former is dedicated to the victims of history, and the latter depict the leaders that changed history and are often the ones who defined the former’s fate. Through the Children of Syria paintings, Lo tells the story of a war that has not ended in thousands of years, a war over racial and religious differences, a war that has caused the sufferings of the children of Syria. The island of Taiwan had also lived through over five decades of untenability, which we still remember vividly. This also warns us that our existence is connected with others by fate: “I have been exploring my inner-self through my paintings in recent years, then I realised that I had not been painting those around me, for I had actually been painting “myself”; the Syrian children are almost like a part of me, what had happened to them are almost like part of my own experiences. I don’t mean the actual events, but the spiritual connections between us.”

Historic Figures provide concrete clarification to A Brief History of Time and showcase the artist’s perspective and philosophical approaches to the history of humanity. The historical personae he has selected narrate the progress from “godliness” to the “Theory of Evolution” followed by “Anthropocentrism” and “Eurocentrism” before the expansion of Imperialism and Capitalism which then led to Colonialism and eventually the rise of “Socialism”. The “Nazism” of World War II in Europe and “Japanese Imperialism” caused the unprecedented disaster. Skrik from the Portraiture collection shows Lo’s concerns over the working class whom reiterated their mindless tasks in order to survive: “I think I now have a better understanding of this world and have realised how helpless I am in this vast universe.” 

Lo tactfully chooses to paint former British Prime Minister Winston Churchill and American president Abraham Lincoln as a contrast and comparison. Churchill fought against the invasion of Nazism, even though he succeeded with the help of allies, the rise of Neo-Nazism and extreme right-wing supporters in recent years are slowly gaining advocates in Europe. The current president of the United States Donald Trump sees himself as a pioneer like Lincoln, yet his deep-rooted racism has encouraged the believers of extreme right-wing philosophy and white supremacy. Despite his defeat in the recent presidential election, the issues regarding extreme right-wing supporters in Europe and America would remain a challenging one. Both Churchill and Lincoln reflect on the bight and the good of humanity, and they are praised for their reminding us of the dark side of humanity.

Through Portraiture, Lo explores the struggles men encounter on their path to the godliness. The female sitter and plants stand for the friction between temptation and the sacred, which then lead to the nuanced relationship between “consciousness” and “the ability to define good and evil”, meaning the connection between the “mortal” and the “saintly”.

“Consciousness” is the key to the Portraiture pictures; hence the young girl is set in a primitive forest. As mentioned, “consciousness” is part of men’s survival instinct and the origin of “delusion” which set men in the endless cycle of reincarnation. It is also the main reason for Adam and Eve’s eviction from paradise to the “mortal world” – the consummation of the forbidden fruit. Both the Christian and Buddhist theories and the seventh consciousness are the key to “Transforming Our Consciousnesses into the Four Wisdoms”, and the only condition for Christians to reside in the Garden of Eden. One’s “consciousness” is presented in the form of a misty and untainted Amazon forest, that can also be seen as the demarcation of innocence and blasphemy. The co-existence of naivety and the wickedness in the girl’s facial expression indicate the “sacred” and the “evil” as well as the endeavour to move from “humanity” to “godly”.

Lo Chan Peng explains: “You might see some contradictories in my paintings – instead of focusing on my devotion to religion, what I want to do is “explore”, and what is the difference? Piety is undoubtably a concrete fact, yet I still have so many questions and I’m full of curiosity for the unknown world. Hence my works carry some elements which contradict my faith. It is religious, yet not too pious; it is sympathetic yet slightly cruel. I don’t want to limit myself within a single direction for I believe this world is much more complicated, and complication should be shown with contrasts in order to stay true to the reality. Like the lust of a pious nun or the greed of a devoted monk. I want my audience to sense and contemplate on the complication within, all needs to be combined in order to surpass it spiritually. That is why we live and experience the good and evil hidden behind smiling faces and the kindness and coldness of the world formed by history on our journey to either hell or heaven. I believe one needs to feel everything to sense the world fully.”

Yes, from the Buddhist aspect of “completion”, this is a world full of mixed feelings and no obstacles, for the true image contains it all. Such truth is not given a name or meaning but is part of “the other shore”, whist Lo Chan Peng is trying to describe “here, this shore”. The differences between “here” and “the other shore” is simply separated by one’s thought.

The delicately painted surfaces are perfectly pure faces. In order to present his discoveries in the complicated human nature, Lo layers “imperfections” on the “perfect” surfaces. From the tradition of painting in layers technique to the anxious layering of paint and the flowing “water stains on the wall”, they are the distinctive symbols that mark and record the two-dimensional world before one reach “the other shore”. Lo Chan Peng’s aspects on art, life, religion and philosophy are concluded in his artistic format, content and technique.

Text: Reporter Ling Meixue
In the field of traditional painting, the new generation of contemporary Taiwanese artist Lo Chan Peng has received international attention. In recent years, he has achieved excellent results in both the artistry of his works and the market. In particular, his portrait paintings of figures are fine and realistic, but they are not at all stagnant in craftsmanship. Instead, they outline the flow of the inner spirit and give viewers a strong visual impact. The creative media cover oil painting and ink painting, and Luo Zhanpeng's works often explore the issues of time, history, life, and death.

Lo Chan Peng graduated from the Western Painting Group of the Institute of National Taiwan Normal University and has won the Federal Art New Artist Award (2004), Chi Mei Art Award (2007), Kaohsiung Art Award (2008), etc. In 2020, he won the American Art Renewal Center (ARC) ARC Collection Award, Portrait Honor Award, ARC Best Popularity Award, and the 22nd Annual International Portrait Competition Featured 50 of the American Portrait Society. Among them, the ARC Collection Award-winning work " Les fleurs du mal" (oil painting, 63 × 63 cm, 2020), will participate in the 15th International ARC Salon Exhibition from July 16th to 26th, in New York Sotheby's exhibited.

偶然之作
近年隨著到海外駐村、舉辦個展與參加藝博會，而逐渐在國際間嶄露頭角的畫家羅展鵬，日前舉辦了風格與素材迴異於過去的水墨個展「人間草紙」，延續高昂的人氣，藏家對這批畫作的反應依售熱烈•坡間，個展開幕後兩天，約20幅展件已全數售出，而在商業成績之外，更值得注意的是，這次個展無
疑讓我們看到羅展鵬的另一種可能，更洗鍊，更不假雕飾，也更有溫度。

「我很難稱這批作品是水器，雖然我使用水墨這個材料來畫，但我希望這是個沒有被定義過，在大家既定認知以外的東西。」羅展鵬坦言，自己是習西畫出身，並非中畫相關科班出身，對於水墨這倜材質背後承載的文化意義與脈絡，還不夠了解，對於水墨的喜愛，全來自於對質地本身的觀察與感受，
「水墨是流動的，當它量開時，那種四處流竄，充滿想像空閒的感覺，我很喜歡。」然而，全然陌生對於藝術創作來說，經常是種加分，這次個展的畫作是2011年與2013羅展鵬到柏林
與洛杉磯駐村時的作品，完全不在他的預期之內，是徹底的偶然之作。
「這個偶然讓我覺得很珍貴，一開始有感覺，是到了柏林，很多街道上都有塗鴉，那種斑駁的感覺很觸動我，那時候又租了一個滿地髒亂的工作室，必須跟很多藝術家一起住；創作的環境也很怪，有個藝術家的工作習慣是要關所有的燈，用非常不清楚的投影機，投到畫布上，在隱隱約約的燈光下，他才畫，也因為是在地下室，最後我只能靠在窗戶这，靠著窗外的一點點光，縮在地上畫，面對第一張空白畫布的時候，我其實不知道自己該做什麼，一直到這系列最後結束，總共幾十張的作品，我看到自己不斷在微調，這個感覺非常特别。」

只感受，不思考
羅展鵬特剐喜歡模板塗鴉，這是塗鴉藝術家banksy發明的塗鴉手法，為了縮短塗鴉時間，不被警察取締，而在家先製作鏤空模板，再拿到牆面上喷漆，完成後如果笞察還没來取締，就再補上幾筆，因為有了模板的限制，所以這類塗鴉通常只有黑白两色，「顏色看似很單調，但是也許因為是畫在斑駁的
牆面上，我覺得很有韻味。」因陋就简的情境成為一種異樣的氛圈，侷促的地面、香暗
的光、流動不拘的墨汁、從末管試的塗鴉風格，以及陌生人，這一切的不熟悉交會出種美，令他專注凝視、提筆疾書，像個專注的旅人，不思考，只捕捉當下的悸動。
「當時我們會開放工作室讓人參觀，我的朋友也會帶人來看，就從這些人裡面，憑感覺挑選適合的人當成作畫的對象•沒有情境設定，當下他們穿什麼衣服、作畫時的光線•
他們的表情、神態等等，當下是什麼，我就畫什麼。」作畫的當下，羅展膀又思考著什麼？他說：「其賓我没思考什麼，我更在乎我感受什麼。」「感受這兩個字很單純，但是真正在人跟人交流的時候，四目相對的時候，也許因為禮貌或別的原因，雙方總會盡量壓低眼神交流時的感受，而把心思專注在講出來的話，去思考那種理智上的東西，但是相對於對話，我真正希望的是表達那種眼神交流的感覺，雖然那可能不代表任何意涵，沒有任何所謂的意義。」羅展鵬提出一個很有趣的觀察，也許人與人互相專心凝視20分鐘，會此對話20分鐘，還更能讓彼此互相了解，「不說話，但是可以真切地感覺到對方」這是他想表達的感動。

一直以來，羅展鵬的作品，總是製作繁複單是前置作業就有許多講究，他先設定好腳本，設定人物的妝容與造型;設定好拍攝情境，然後集合模特兒、攝影師與梳化國隊按著腳本進行拍攝；然後才依著拍攝出來的圖像，進行創作。在他紮實精細的工筆描摹下，作品總能充滿炫目的細節，堆疊出一股陰暗華麗的舞台風格，畫中人物在濃妝之下散發出質疑、哀傷，或者詭異的氣息，可以說，這種畫風來自他意有所指的隱喻。從最早成名的「草莓族」系列，到風格成熟的「白面者」系列，羅展勝從未放棄表達他心中的社會焦慮，「從以前的草莓族到白面者，我談的是一樣的東西，不是單指某種個案或不公不義的事件，而是一種無法停止的遊戲所帶來的壓抑，不論你想不想參加，這個漩渦把我們都攪進去；不論你在哪個位置，都感覺到壓力逼著你不得不繼續這個遊戲；外在始終是華美的，但事實上大家也許都已在崩解邊緣。」

懸念依舊
糖衣下的焦慮，發展中國家再熟悉不過的自況，藝術家的創作是否該緊密貼合社會關切？沒有答案。但可以肯定的是，藝術家偶爾抽離家國之思，在創作中直抒感性，直抒心中之絕美，肯定是觀眾之福；就像這次的羅展鵬，當畫作顏色變得單一了，反而更能彰顯出他駕馭畫面細節的能力，相對於過去繁複的作畫過程與構圖，寫意、奔放的畫風，更能釋放出畫裡的感情，盯著靜謐的畫面瞧，有時會覺得這些畫裡人物彷彿會呼吸，彷彿自己並非看著一張張的畫，而是正與書中人
物彼此凝視。但是，藝術家顯然並不滿足於這個令人驚豔的小品系列，採訪當下，羅展鵬透露，目前正忙著創作一幅尺幅達300號的巨型作品，名為霧行者，「大霧之中，看不見身後，也看不清眼前，你不覺得這跟現在的我們很像嗎？」意有所指的這幅大作確定將在今年底的台北藝博會亮相，羅展鵬誓言。「一定讓大家耳目一新，我很好奇大家看見時的表情。」那麼，這會是一個系列作
嗎？

「我只能說，這是一個很長的故事。」他欲言又止，像極了愛賣關子的導演。

It has been waiting for several years for Lo’s new creations until June 2017. It can be known clearly from the caption of this exhibition that “ink” would be the main materials in creations. However, take a review of Lo Chan Peng’s art works, they are on oil materials but combined with super realism delicate skills.

Lo is well-known in Strawberry Generation series. In 2009, there are five sections in his first “Strawberry Generation Invaders” exhibition, including “Journal of Strawberry Generations”, “Youth Diary of Strawberry Division”, “The Night Marching”, “The Super Smash”, and “The Beauty Ode.” Although there are five sections in this exhibition, they share the same theme as a whole. The strawberry generation is close to Lo’s age. He depicts the social environment they encounter and what they behave and response from inner to external. Firstly, people would be stunning for Lo’s delicate detailed descriptions and talented manipulations of oil painting skills; afterward, the real attractions of these paintings are the colorful strawberry characters. The void and uncertainty has been intensified by their heavy makeup and rebellious attitude. The exterior rebellion is a show and the real intention is to highlight the importance of themselves and the sense of presence. Lo casts green and blue holy lights to characters in these paintings, which enables these characters to have a sacred position in contemporary art. Through his works, he ironically claims that the Strawberry Generation with bright-colored appearance and fragile inward condition should be the dominant group in this society.

On several media interviews, Lo said that the start of his artist career was in his childhood. He was so interested in comic books that he even made his own version. He has made 30 comic books. Japan is nearby Taiwan, a comic industry thriving country; therefore, Japanese comic books has imported into Taiwan and dominated the Taiwan comic community. Inevitably, Taiwanese comic fans would be heavily influenced by Japanese comic books. Lo is one of them. More or less, the creations, forms, and content of Lo’s would be influenced by heavy exposure into comic world. The “Strawberry—The Night Marching” in Strawberry Generations series and “Ashen face” series afterward are derived from the folk legends in Japanese comic books. “The Night Marching” originated from China, then combined with Japanese local folk tales. There are 132 ogres. The fox with a white face and nine golden tails called Tamamo-no-Mae (玉藻前) is the most famous monster in this mythology. Nine tails fox originated from the Chinese folk tale, which was collected in “Classic of Mountains and Seas (山海經).” In Japan, it is said that the fox would transform itself into a beauty to seduce aristocracy or kings. The kingdom fell apart because of this monster. Many Japanese painters use the comic content to create. Lo combines this story with his understandings toward to contemporary society and creates the “Ashen Face” series.

The ashen-face-girl created in Lo’s work over-burns her life. The ashen-face-girl’s fox-like seduction is made from ash, which vulnerably supports the feeble breath. Stripping off the colorful appearance, the bright spirit fades away. She licks her wound and sighs, in a dark corner. There is no replacement but to experience the phantom-like pale of being youth. In 2011, the Artist-in-Residency activity, Lo reached the western graffiti. A specific graffiti which uses the black spray on engraved plate drew Lo’s attention. Lo invented an innovative form of painting, which was to use the traditional Chinese ink mingled with acrylic pigment to create black spray effect and dripping effect. “Berlin calling” is not only to extend the detachment of color in “Ashen Face,” but also to go further to the black-and-white world. Lo is going to summon the real identity hidden on a corner in his mind, to get rid of the yoke from etiquette-like colors. His tolerance has been wore out, cannot hold the emotional explosion anymore. He is looking forward to having a pure society—just like white and black. However, black-and-white life philosophy would cause sharp stimulations to the existing world; therefore, contradictions are unavoidable. The riot explosion is temporary. Lo clams down gradually and lets his great insight back to normal. He observes the history context surrounding him from a different angle. He said “From my grandfather’s generation to my son’s generation, everyone seems to wander in mist. Through my paintings, I want to express this complicated issue.” The “Wanderer in the Mist” was created under this atmosphere.

“Wanderer in the Mist” is a transitional period. From long-term observation, the “Misty” series can be viewed as Lo’s turning point for his artist career. “Misty” maintains the realism skills in “Strawberry Generation” series but forsakes the contradicted beauty between horror and magnificence. Lo deals with every face with monochrome light and accurate description. The imagination to ash in “Ashen Face” is exploited in “Misty” series. Both the sense of abstract and concrete exist every single piece. As the “Berlin calling,” Lo uses ink with acrylic pigment. Except specific sections, Lo restricts the dripping effect skill. Being the turning point, the ink in “Misty” works as mist spiraled around mountains. The materials are oriental media but coming with western skills. From color-gradation, dripping, spraying, the volume between light and shadow, fine brushwork, all are mingled in harmony. The process of Lo’s creating period is the moment that he finally returns to what he really is. Thousands of thoughts overwhelm in his mind in a second. In this hazy moment, he starts to pay attention on his internal emotions and sub-consciousness when he adjusts his point of view from external to internal. The internal senesces start to operate. Lo is aware of the real existence of himself and attempts to talk to him. In Lo’s creating process, to choose an ideal model is the first step and then to ask models to wear specific makeup and appearance under the prepared light. After shooting, he uses computer application to edit and adjust every parameter to meet his expectations. The final image is on the computer screen and it is the platform that he paints. Therefore, the whole procedure, from the very beginning such as choosing models, the design of makeup and the photo studio environment, dealing with digital images, to the final step including the usage of skills and materials, each of these steps is part of the creating procedure. It takes time for this delicate superrealism description, especially the final procedure. In this stage, what accompanies with Lo is the character in his painting and all the depictions are given with sincere efforts. The unconditional acceptance and feedbacks are given by these characters. It enables them to become the subjects when they stare at each other. Subject-and-object alternates and be mutual reliant in the creating moment.

The difference between the “Misty” and other series, apparently, is not the representation of external objects but the depictions from inner consciousness. Therefore, “Moses,” “David,” and “Paul the Apostle” in “Misty” series are not based on the descriptions in Bible but comes from the emergence of these images in his mind while he is meditating.

According to Exodus in Old Testament, Moses was the leader of Hebrew around 13th B.C. God sent Moses to release his people from slavery and lead them leaving Egypt to the Promised Land—Canaan—flowing with milk and honey. After 40 years harsh journey, they finally arrived Canaan and Moses was 120 years old. Except Caleb and Joshua, Moses and the first generation passed away on the journey (because of their sin). The real leader who led Hebrew people to Canaan was Moses’s successor Joshua. Mosaic Law was promulgated in Mount Sinai. It was significant historical event for Israel. They have viewed this as the great salvation which God saved them through Moses. Because of this salvation, the Israel can thrive.
After Moses, Joshua succeeded as the leader. He was a hero in Israel’s history. He led people through Jordan River to fight and kill the kings who occupied Canaan. Finally, he divided the land and people into 12 tribes. Approaching Joshua’s end, he commanded his people to vow. According to Joshua 23.16 “When ye have transgressed the covenant of the LORD your God, which he commanded you, and have gone and served other gods, and bowed yourselves to them; then shall the anger of the LORD be kindled against you, and ye shall perish quickly from off the good land which he hath given unto you.” After several centuries, though he had warned Israel people, his people departed his disciplines and were ruled by other races until King David.
David, the second king of Israel Kingdom, was well-known for killing Goliath. Although his achievement caused King Saul’s jealousy and hunt, he took care of his parents when he was in danger and did not kill King Saul when he was in power. He defeated other kingdoms, treated people generously, and prepared the building materials for temple. However, he was not perfect. He cannot stand the lust and seduced Bathsheba. He confessed and begged God’s pardon several times. It became a great example of repentance. According to Bible, world savor Jesus is the descendant of David. “And when thy days be fulfilled, and thou shalt sleep with thy fathers, I will set up thy seed after thee, which shall proceed out of thy bowels, and I will establish his kingdom.” In Christianity, Jesus is the descendant of David, the Messiah.

Paul the Apostle is not on the list of “The Twelve” and he even ruthlessly persecutes Christians because of his faithful belief in Judaism. It is blasphemy for him, which Christians claims Jesus is messiah, Son of God. The persecution proceeds until a hunting mission in Damascus converts him. He experiences accented lighting vision and begins to preach that Jesus of Nazareth is the Jewish Messiah and the Son of God. Although not being the first evangelist to gentiles, Paul dedicates his life to evangelize Christianity. His has been Cyprus, Anatolia, Greek peninsula, and other places. He has emphasized several times that though not being one of the Twelve Apostle, he is chosen by God directly and his position should be equal with them. Paul is given the title “Paul the Apostle” or “the apostle to the Gentiles.”

There are several important Christian figures in “Misty” series, such as Moses, Joshua, David, even Jesus. Lo neither depicts their significant success nor their personality or appearances; instead of the traditional western religious paintings, under Lo’s depiction: Moses is not elder, Joshua is not as brave as a warrior, and David is not young and gentle. Abandoning the functional explanation, he focuses on and wants to express the moment that he communicates with Father and what he has felt. In short, he wants to show “epiphany.” After being professional artist for several years, Lo has felt that the “inspiration” is significant during the creating process. Man does the efforts, and God judges. Inspiration does not come from the tangible world but the intangible spiritual power. Connecting with intangibility enables one to acquire inspiration. The work “The Connection with God” is this moment, which the physical eye closed and the sensation of spirit opened. In this painting, you would realize that “As the branch cannot bear fruit of itself, except it abide in the vine; no more can ye, except ye abide in me.”

The painting “Presence” is not to describe the advent of God or certain objects but a metaphor which transferring human’s awareness and thoughts into pure consciousness. As the transcendental existence, God has no limitations on space and time, interacting and penetrating with the living infinitely. “Presence” is as
“I am that I am.” However, Thomas is confused. Thomas saith unto him “Lord, we know not whither thou goest; and how can we know the way?” Jesus saith unto him, “I am the way, the truth, and the life: no man cometh unto the Father, but by me.” “If ye had known me, ye should have known my Father also: and from henceforth ye know him, and have seen him.” The painting “The Way, the Truth, and the Life” expresses that the way, truth, and the life would be acquired under Jesus's guide.

Misty is the spiritual kingdom created by Lo. He says:
“My works, are the respect to the intangible and unknown things. The obedience to destiny, to the past, to the presence, and to the future. The moved moment when being recalled the existence of one's spirit. They are the expressions of love to what I have met on this land. They are the hallelujah for everything”
In this spiritual kingdom, there is no absolute reality or delusion; it alternates. Consciousness could be the reality, and vice versa.

Chen Kuang-Yi/PhD in Contemporary Art from Paris Nanterre University
Professor and Dean of the Graduate School of Fine Arts at National Taiwan University of Art

“Truth strikes us from behind and in the dark, as well as from before and in broad daylight.” -Henry David Thoreau

Lo Chan Peng made his debut in 2007 with the Strawberry Generation series which depict people around him as the subjects of the paintings. Since then his name has been closely linked to photorealism or hyperrealism. The hyperrealism movement was officially revealed in the fifth edition of Kassel Documenta in 1972, fifty years later, with the constantly improving and innovating technologies and the necessity of photography in the modern age, the movement is at its most popular, for it’s now considered as one of the best methods to discuss what is “real”. Since all the paintings originate from photography, it doesn’t mean Lo merely paints what he sees, whilst his extraordinary techniques do not simply reproduce what is visible, but are better associated with Malcom Morley’s so called “illusional anatomy” or the “absolutism of the media” as suggested by Andy Warhol. Photography is the indispensable route for these kinds of paintings, for they provide the means to view and the conditions to feel, whilst what is “real” being the true subject. Due to the fact that the artists paint in the manner of photography, hence what they present to the spectators is not always real, but the “hyperreal” as claimed by Jean Baudrillard. This explains the artists’ deliberate withdraw from what is real because the images have become the barrier between the artists and the reality, and they are confined to present “the reproduction of the reproduction of the reality”.



The fluorescence in his Strawberry Generation is just a disguise which appears to be perfect and fragile and would eventually be conquered by The Edge of Darkness. Yet his faith in Portraiture remains. People are Lo Chan Peng’s main subjects. As long as he needs people, he is constantly in demand of photographing people or searching for images of men for the familiar connection between the artist and his subjects. In contrast to photography, painting has offered an aesthetic approach which not only changed the way photography functioned but also emphasised on the artists’ enthusiasm in the selection of the oldest artistic medium. Lo Chan Peng applies glazing, a technique established at the beginning of the invention of oil paint in the fifteenth century, to alter his images and explore means of escape. He devotes himself in the time-consuming mixture of oil and paint, the laboured layering of thin transparent and opaque medium. Through this “organic” technique which relies heavily on temperature and humidity, he finds the umbilical cord which connects now and then. Living in between the struggles between the artist and painting materials, he eventually perceives the fabricated images as the reality of the artist’s existence.



Lo Chan Peng applies the glazing technique on his 2020 Portraiture series. The canvases are almost hyperrealistic, with metaphoric and metonymic details, the dramatic compositions respond to the disciplined forms. At close up, these paintings lack the flawless appearance – the broad brushworks blind the sitters’ eyes, blemish their cheeks whilst unclarified grains and splashes of paint are liberally applied to the canvas or scraped on the edges to create an uneven surface. Apart from the traditional glazing technique, Lo works with unusual methods such as scraping, engraving, covering up and layering, for the “damaging” of the surface create incredibly dramatic conflict between illusion and reality. From form to shapelessness, perfection to sabotage, order to chaos, structure to collapse, two-dimensional to three-dimensional, reproduction to presentation, and the reality of reproduction to the realisation of the material!



Children of Syria borrows pictures from photojournalism to display Lo’s concerns for the victims. The still images contain a strong sense of narrative, yet no conclusions are provided. The series display the ridiculous and miserable conditions men live in, and how the artist’s empathy for those sufferers is reflected on his works. He said it has been finished is a metaphoric representation of the Passion of Christ and the path to redemption he had carved out. The Historical Figures series focus on the “history changers”, through the mechanical reproduction of well-known portraits, Lo’s paintings highlight the time differences between photographs taken in the past and the canvases that are being painted today. Through studying subjects of this this kind, Lo Chan Peng works on the balance between sentimental imagination and sensible observation, painting aesthetics and the impact of the society.



During Lo Chan Peng’s unvoluntary seven-year sabbatical, the solitude helped him build up a tough appearance, yet he still had to face some of the most challenging events in life, from which he made major discoveries. His mind sublimed whilst his paintings solidified, as seen in the monumental Lumière paintings and A Brief History of Time. The miniature hyperrealistic sculptures above the paintings purify the compositions by relocating the figures from painted forms to three-dimensional sculptures. Lumière depicts the shadows casted by time, whilst the sculptures bear the mystery of life and death. The two panels of A Brief History of Time transform themselves into two giant stelae, standing there in silence and enduring the weight of art history and history, and allowing the artist to carve on the impressions of each dynasty to strap the past and future of the humankind together. Lo Chan Peng gradually detaches himself from the shallow appearances in order to seek for the mind-blowing truth and reality under the deceiving surface.

aa

Title: A Painting Enters the International Market - Lo Chan Peng Shines in the International Art Scene

Artist Lo Chan Peng, who has an impressive and handsome appearance, is one of the few oil painters who has gained a lot of popularity both domestically and internationally. He often appears on TV programs and has a unique perspective and observation on things. His artwork often comes from the inspiration of observing things around him. Last year, Lo Chan Peng participated in a joint exhibition at the Arcadia Gallery in Los Angeles, USA with a painting called "Eve's Garden", successfully entering the international market with just one artwork and gaining a lot of attention.

He believes that painting is a form of communication that goes beyond language, and last year he used his art to explore the common spirit of the times by drawing Syrian refugees. Lo Chan Peng is active in the international art scene, has his own unique fashion taste, and is handsome and charming, with many loyal fans. He has been praised by the media as a "little fresh meat" and is now a handsome and mature male artist. He has won many awards such as the Federal Rookie Award and the Chi Mei Award, and has participated in many interview programs. He has also worked with Mayday to release the album "Woman", where he was responsible for the visual design of the cover and inner pages, as well as played the male lead in the music video of the song "Life has an Absolute".

In 2019, after the exhibition "Mondo Tondo" at the Arcadia Gallery in Los Angeles, Lo Chan Peng had a full schedule, including exhibitions at the Chi Mei Museum in Tainan, the Tainan Municipal Art Museum, and the "Taiwan Praise" exhibition.

His artistic talent has shocked the art world. The invitation to participate in the joint exhibition in the United States was a significant opportunity for Lo Chan Peng because he was able to exhibit with internationally renowned artists. With only one artwork, "Eve's Garden", his work gained high demand and caught the attention of the gallery owner, Steven Diamant, who invited him to bring more works to the United States to continue participating in exhibitions the following year. Lo Chan Peng's ability to enter the international art market with just one artwork demonstrates his great artistic talent.

Lo Chan Peng's art style is characterized by his ability to observe and think deeply about the world around him, resulting in unique and thought-provoking works. He believes that painting is a means of communication that transcends language and should be able to convey meaning to anyone who views it.

In addition to his success in the art world, Lo Chan Peng is also known for his unique fashion sense and striking good looks. He has a large following of fans who admire his star quality, and has been dubbed a "little fresh meat" by the media. However, he has since evolved into a mature and accomplished artist, having won several prestigious awards such as the Federal Newcomer Award and the Chimei Award. He has also appeared on numerous talk shows and collaborated with famous musicians such as Mayday and Qu Wanting.

In 2019, Lo Chan Peng had a full schedule of exhibitions, including the "Mondo Tondo" exhibition at the Arcadia Gallery in Los Angeles, the "Beauty in the Details: Taiwan Realism" exhibition at the Chimei Museum in Tainan, and the "Taiwan Salute" exhibition at the Tainan Municipal Art Museum.

Lo Chan Peng's artistic talent has made waves in the art world, and his participation in the Arcadia Gallery exhibition was particularly significant as it allowed him to exhibit alongside internationally renowned artists. With just one piece, "Eve's Garden," Lo Chan Peng managed to capture the attention of gallery owner Steven Diamant, who invited him to exhibit more of his works at the gallery in the future. This demonstrates the strength and potential of Lo Chan Peng's artistic abilities, and his ability to make a name for himself in the international art market.

Lo Chan Peng's artistry has captivated the international art scene with his unique perspective and observational skills. He believes that painting is a language that transcends words and must have a communicative function. In his exploration of universal human experiences, he painted Syrian refugees, which reflected the spirit of the times.

As a prominent figure in the fashion industry, Lo Chan Peng has a distinctive taste in fashion and is known for his handsome looks, making him a favorite among his loyal fans. He has been described by the media as a "fresh meat" heartthrob in his early career, but he has now evolved into a stylish and mature artist. He has won numerous awards, including the Federal Newcomer Award and the Chimei Award, and has appeared in many interview programs. He has also worked with the popular Taiwanese band Mayday on their album "Woman and Man," designing the cover and visuals and playing the male lead in the music video for 曲婉婷 "There's Only One Absolute in Life."

In 2019, Lo Chan Peng participated in the "Mondo Tondo" exhibition at the Arcadia Gallery in Los Angeles, as well as the "Beautiful Beauty - Taiwan Micro-Realistic Art Exhibition" at the Chimei Museum in Tainan and the "Taiwan Salute" exhibition at the Tainan City Art Museum. These exhibitions made his schedule full.

At the Arcadia Gallery exhibition, he was invited by the gallery to participate in a joint exhibition with renowned international artists, which was a significant opportunity for him. With only one piece, "Eve's Garden," he participated in the exhibition and gained a lot of attention. The gallery owner, Steven Diamant, was impressed and invited Lo Chan Peng to bring more works to the US for future exhibitions. This experience highlights Lo Chan Peng's artistic prowess, which has led him to break into the international art market with just one piece.

漂亮家居NO200_理想の家屋_羅展鵬

American Art magazine 2020 Jan pic

1