and has only used his Long Island City
studio for two months now, he’s been
“very touched by the artistic vibe here,”
citing MoMa PS1 and Socrates Sculpture
Park as endless sources of inspiration.
“The reason why I got this studio is be-cause
I … met some people living in this
neighborhood, … and I think people here
really love art and really respect artists.”
Chen’s lived in New York for four years,
and speaks limited English. But he be-lieves
that this is an advantage; he doesn’t
find “too much discomfort” in speaking
limited English. “It doesn’t influence the
way he experiences and feels the city,” Shi
shared, as it “gives him more chances to
experience or feel the city… for
what it actually is.”
His previous stu-dio
in Hangzhou,
China, was
Photos courtesy of Chen Dongfan Studio
a traditional, blank space. Chen’s work
remains in his hometown in a permanent
sense, though, in some long-standing pub-lic
art projects. He’s also created public
art works in Greece, Italy, and Germany.
But throughout his work with portraits,
studio spaces and public art projects, Chen
“doesn’t think the forms of art matter” to
his artistic journey. “It’s more about finding
myself and trying to get closer and closer
to something called ‘purity,’” he insisted.
After creating this “360-degree, color-ful
environment,” Chen invited his friends
for an immersive, Open Studio showing.
One friend, a dancer, gave an improvised
performance, transforming “what she felt
in that space … into bodily movement.”
He’s since invited other artist-friends to
perform in the space — and then asks
that they sit for a portrait session. Thus,
“the energy isn’t just one way; it’s two
Art
36 MAY 2018 I LIC COURIER I www.qns.com