With his sharp observations, deep reflections, and traditional techniques, Mr. Lo Chan-Peng deftly weaves humanity’s enduring themes into his paintings. The grand themes and historical narratives of love & hate, and life & death materialize through his skillful, classical, yet one-of-a-kind style. His works are appreciated not only for their exquisite craft but also for their ability to lure viewers into a profound relationship with his subjects and the unique atmosphere. Wanting to explore the stories and inspiration behind his works, as well as to gain a deeper understanding of their profound themes, Hong-Bin Chang, an art agent, conducted the following casual interview with the esteemed artist, Lo Chan-Peng. Question 1: I first learned about your work through a foreign website. Your paintings have a very “Western” feel to them from both a stylistic and thematic perspective. I’m sure viewers would easily assume that these paintings are the work of a foreign artist. Oil painting originated from the West. It is an art form that has been shaped and guided by generations of “Western” artists. When we were taught oil painting, we also had to learn to incorporate a certain European, or “Western” feel into the painting. How did you train and what did you learn to arrive at this very “Western” style? Lo: I believe that artists should primarily express themselves in earnest. I’m not even certain I have that “Western” feel you’ve mentioned. It may probably be because my works try to portray issues that relate to all of mankind, including Syrian children and historical figures from world history. The world may be transitioning away from it, but “The West = The World” is still a dominant paradigm here in Asia. That may be the reason why my works give off that impression. A viewer with a Western background might hold a completely different opinion. Anyone’s style is deeply related to what they’ve been exposed to. I have never pursued a “Western”, or European style, but I am obsessed with the various cultures around the world, including those of India, South America, and of course, my own Chinese culture. I allow all these cultures to coalesce within me and become a part of my paintings. Question 2: When did you begin learning art, and who was your biggest influence? Lo: I don’t even remember when drawing became my obsession because it happened so early in my life. I became an artist because it just called to me. I’ve been influenced by so many people and so many things, it’s become hard for me to give a short answer. The god of fate may have been my biggest influence. Question 3: I noticed a shift in your style from around 2010, mainly a shift from full color to monochrome. What brought about this change? Lo: I think if you look at all my paintings in chronological order, you’ll notice that my style changes quite often. In 2010, I departed from the colorful world of neon-illuminated nights and arrived at a more monochromatic world. However, if you take a closer look, I actually use a lot of colors in those paintings. Their black-and-white look was achieved through blending together many, many colors. I think I wanted to reflect on the people of the time with that look. In hindsight, it may have been a bit premature. My paintings from 2010 might feel more at home in today’s cynical mood. Question 4: Through both your presentation and your use of color, your paintings tend to give viewers a heavy, oppressive feeling. From a psychological perspective, that would normally mean that the artist has led a life filled with trials and suffering. However, I find it hard to associate that kind of life with you. Why have you chosen to depict these heavy themes? Lo: Every part of my life affects my art. It’s a long story, but I think the passing away of my wife from illness was a major turning point for me. That was the greatest hardship I’ve had to endure, but I also matured a lot from that experience. Question 5: The colors you use often mire your paintings in an anxious and uneasy atmosphere, even when you depict someone in the full bloom of youth. In your paintings, they seem to be burdened with a kind of stress we don’t usually associate with adolescence. Why do you avoid using bright, saturated colors ormally associated with youth? Lo: There are many reasons for that. Firstly, “full bloom” isn’t a term that I’d personally use to describe my youth. I don’t really see my works as being anxious or stressful. It should feel more like a deep, philosophical pondering. At least, that was what I was going for. Question 6: In your portraits, there are many spots (especially on the face) that seem to be intentionally destroyed, or defaced. Are you trying to show viewers a different method or technique of artistic expression, or does it have some kind of hidden meaning? Lo: That destruction is a product of my shifting attitudes towards art. I used to demand perfection, by that I mean to create art to the best of my ability. I wanted to eliminate any traces of being human. I wanted to surpass humanity. However, after the events that have happened in my life, I realized how meaningless an endeavor that was. Question 7: When I see your paintings, words like compassion and lamentation float to the top of my head. We can find, in almost all your works, a lamentation of the times and sorrow towards suffering. It is said that you can form connections with distant events. When you saw a photo of a Syrian child struggling to survive the civil war, you were able to experience that as a part of your own life. How has this helped in your creative endeavors? Lo: Compassion and lamentation seem a little too grandiose for my paintings. Thank you, but I’m only human, and even the holiest of humans have their weaknesses. People exist between life and death; chaos and order; piety and blasphemy; and freedom and bondage. Similarly, I think my works exist between here and there. They are the mysterious games we play before we arrive at our destination. Question 8: Your paintings also depict many contemporary and historical political figures like Karl Marx, Charles De Gaulle, Winston Churchill, Angela Merkel, etc. Is there a specific message you want to convey through these subjects? Lo: Back in 2019, I went to Venice to attend the Venice Biennale. We went to see Da Vinci’s original manuscripts at the Gallerie dell'Accademia. That gallery, built in 1570, was adorned with massive banners of Da Vinci and the Vitruvian Man. We waited in front of that building in the gentle morning sunlight. The seagulls soared above us, the pigeons pecked at the ground, and the crowds had yet to materialize. As the canals shimmered and the church bells rang, I raised my head and gazed at the banner of the Vitruvian Man. It was draped in the shadows of the building, but it still looked holy and dignified. When we entered the building, I was struck with a particular thought that you may also have had before: The air inside an art museum is very different from the air outside. It was even more true inside that historical building. Generation after generation of artists have breathed this air and in a way, they were still there in the building with us. When I stepped into the Gallerie dell'Accademia, I felt as if I was in the company of great philosophers and artists. I was also surprised to realize how far we have fallen in the present day. I gradually started to observe history and paint its figures. From Darwin to Marx to Guevera… As each painting unfolded, I began to see the threads of an invisible, interconnected web linking the past to the present; and cause to effect. I don’t think the message behind a creative work precedes its creation. We yearn for it as we search and feel around in the dark. It is only on occasion that our prayers are answered. Question 9: You were mesmerized by Da Vinci’s Vitruvian Man, which you have said led you to begin sketching subjects from their bone structure. This, as you say, allows you to see through the surface and reach a deeper understanding of their human issues. You also stress the importance of traditional drawing techniques like sketching practice. There are other voices out there that say the opposite, that sketching practice is a useless endeavor. What are your views on that? Lo: Sketching practice is a useless endeavor. The same can be said for their attempts to find something useful in the useless arts. Why are we trying to arrive at something that’s useful? If art is useful, can it still be called art? Can a lightbulb be both a tool for illumination and a piece of art? Is art about expression, or should it also be useful? Are there standards and rules to expression? Is artistic expression the exclusive property of modern art, or any subset of artists? I think people who say things like that have probably never understood sketching or drawing. All our preconceptions are learned, and that kind of thinking is probably the result of a very narrow-minded education system. I think things are changing. In the foreseeable future, art and crafts made by human hands will be in even greater demand because of how little there will be. We will be temporarily delighted in the imitations and creations that AI can produce, but art made by human hands will only be even more sought-after. Sketching is an excellent way of training our human hands. There will always be people who want to redefine what art is. The definitions are always changing, but our beliefs are eternal. Naturally, if you don’t have the same beliefs, you won’t understand the purpose of sketching. Question 10: Artists dream of being able to create their unique artistic style. Because it’s so difficult, many who spend their lives working on it never succeed. However, for you, that doesn’t seem to be a problem. How did you manage to create your own style at such an early stage in your career? Lo: On the contrary, I think that will always be a problem for me. I’m always trying to surpass myself and I’m still searching for my unique style. That search will probably continue on for the rest of my life. I’ve always felt more like a wanderer. Question 11: I can see from your paintings that you’ve put a lot of work into understanding and expressing yourself through the medium of oil paints. As an artist, what has been the biggest challenge in your creative career? Lo: I suppose it’s the sustained loneliness. Only I know what I’m looking for, and sometimes I don’t even know that. I’m just by myself, wandering in the wastelands. Sometimes, I’ll stumble across some embers a great master has left behind, only to look around, and find no one. Question 12: I like to split paintings into two different camps: paintings that are viewed, and ones that are examined. The former mainly serves to bring joy to the viewer, while the latter provokes a more contemplative mood. I feel that your paintings are the latter. What thoughts or ideas did you hope to inspire in your viewers? Lo: A voice inside me keeps telling me this: If an artist creates to make mere decorations, they will become worthless. That may not be correct, but that voice motivates me. My creations are precious to me. I want them to serve as a mirror to reflect the viewers’ deepest thoughts. I believe that’s what all good art accomplishes. Question 13: You attended various international exhibitions and competitions where you have won many awards and honors. In 2020 alone, you won the ARC Purchase Award, People Choice Award, and the Honorable Mention/Portraiture Award from the Art Renewal Center. You were also part of the “Select 50!” of the 22nd International Annual Portrait Competition of the Portrait Society of America. What is the role these international competitions play in your creative career? Lo: It’s a way to communicate with the world. In this day and age, communication is imperative. I live in Taiwan. It’s a small island. If I stay cooped up in a small space, I tend to only focus on what’s right in front of me. I need to constantly remind myself to communicate and show the wider world the elegance and flexibility of the “small”. I want to try using my way to become a part of the world and also reflect on myself from a global perspective. Question 14: Other than being an artist, you also promote and teach classical painting. What role do you think classical painting has in modern times, with art being so multifaceted and quick to change? Lo: I understand, use and teach the techniques of classical painting, but that doesn’t mean I’m creating classical paintings. The term classical painting is a term that exists in the context of a certain time period, geographical area, and aesthetic sense. It’s not always appropriate to use an aesthetic standard of the past to look at art today, but I think we can still use the techniques from the past to create new methods of expression. The band “Queen” created music that was extraordinarily avant-garde. Yet they also used lots of classical music in their songs. That’s kind of what I want to do with my art. I want to reflect on the current age, but I also want to use elements from the past. An apt analogy is to just think of human history like a folder on a hard drive. Question 15: We are reaching the end of 2021. Has your work this year been affected by the pandemic? What aspirations do you have for 2022? Lo: I spend a lot of my time working at my studio, so I’m probably one of the least affected by the pandemic. My life hasn’t changed that much, and it probably won’t change much after the pandemic either. I’ve gradually been opening up channels of communication with many galleries and institutions from around the world. My main goal for 2022 will be to complete the exhibitions I have scheduled in various countries and to create works that I’m satisfied with. Link:https://mp.weixin.qq.com/s/Zy69p7TmkTaM3R1ZblpKfA