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Product description
Beautiful screen print by Dominique Chan, framed by master framer Ron de Hoog. Briefly an impression of the artist.
The work of Dominique Chan
by Anthony Heidinga
No better way to understand Dominique Chan's work is to visit his studio on Bonnefantenstraat in Amsterdam. No place, including the living space and the garden, has escaped his passion for painting. The floors are sticky with paint, the walls are hidden behind standing and hanging paintings, one almost stumbles over colorfully painted sculptures and everything else in the house and garden is decorated by the master. Work and home merge into one another, as it were, one chaotic paradise of colors. In short, here is an artist at work with a work ethic bordering on obsession.
This work, how can it be described? Women, many women, lying down, standing, walking, wearing dresses or bikinis, sometimes wearing hats, holding glasses or carrying shopping bags, often in the company of other women or a man, surrounded by cats tumbling in space, fish, cyclists, roller-skaters, palms, clouds, and drifting planes of color, stripes, dots and splatters that seem to go their own way. Lately, women have taken the absolute leading role in a series of portraits in which the busy bustle in the background has been omitted.
The women, fish, birds and so on, incidentally, also recur in his painted ceramics and especially in the figure-sawed wooden sculptures that are again busily painted with the typical Chan motifs.
Festive stories seem to be told, in which some characters are often regular extras, such as the cat (he adores his cat), but others are plucked from the memory of specific encounters or events that not infrequently took place in distant places Chan visited, such as Hawaii, China or Thailand. Occasionally the stories themselves are not at all celebratory, such as the assassination of Rabin, Nine Eleven, and - less dramatically - a friend with her leg in a cast, but even then the works have something cheerful about them.
The happy-go-lucky nature of Chan's work is due to the exuberant use of color - the paint comes straight from tubes and jars - and the fiery, spontaneous way of drawing and tessellation. The contours of the figures, often women, as mentioned above, are drawn with the loose hand with opened tubes. Chan paints and paints and engages little in art-theoretical reflections. He is, and therefore is difficult to label. Of course there were the influences of his teachers and fellow students at the Rietveld Academy and of what he picked up from old masters and contemporaries. Of course he is a child of his time and his work is not conceivable without the pre-history of expressionism, Cobra etc. One thing is certain: he certainly does not belong to the cerebral conceptualists, but to the "painterly beasts" who have enough with canvas and paint. That his Chinese-French roots played a role as is often assumed does not explain the inherent significance of Chan's work. Of course, the visit to China, his father's country, left traces in the calligraphic manner of drawing and the use of Chinese motifs and Chinese newspaper fragments in collages. But on the French side, it is a coincidence that his lyrical expressionism is more reminiscent of fauvists like Matisse than of Northern European expressionists like Kirchner and Nolde. But again, Dominique Chan is a story in his own right.
Specifications
ConditionExcellentColorsPurpleMaterialSustainable materialsNumber of items1OrientationSquareArt sizeMediumHeight52 cmWidth52 cm