{"id":20024,"date":"2026-10-03T12:22:56","date_gmt":"2026-10-03T04:22:56","guid":{"rendered":"https:\/\/enlighten-gallery.com\/en\/?post_type=portfolio_page&p=20024"},"modified":"2026-10-06T16:03:56","modified_gmt":"2026-10-06T08:03:56","slug":"grooving-resonance-a-duo-exhibition-by-fok-wai-chung-x-i-chun-chen","status":"publish","type":"portfolio_page","link":"https:\/\/enlighten-gallery.com\/en\/portfolio_page\/grooving-resonance-a-duo-exhibition-by-fok-wai-chung-x-i-chun-chen\/","title":{"rendered":"Grooving & Resonance \u2014 A Duo Exhibition by Fok Wai Chung \u00d7 I-Chun Chen"},"content":{"rendered":"

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Grooving & Resonance \u2014 Fok Wai Chung \u00d7 I-Chun Chen Duo Exhibition<\/h2>\n

\u00a0by Lyau Kang-Ywe<\/p>\n<\/div>\n

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With long-standing experience in thangka painting, Fok Wai Chung inhabits a world that is quiet without ever being distant.<\/p>\n

Into her intricate inner cosmos she gathers the subconscious, the spiritual, memory and feeling. Flowers, celestial bodies and otherworldly landscapes may seem far removed from reality, yet each canvas conceals traces and symbols left behind by lived experience. These subtle hints keep her garden of the mind from becoming entirely severed from the world. She gathers fragments from the dust of the everyday and replants them within the garden of the spirit. Her paintings read as a record of the life and cultivation of this inner garden.<\/p>\n

I-Chun Chen, long engaged with images, animation, digital media and AI-generated work, turns here toward something more elemental: the direct and raw gesture of hand painting. Her newly conceived series, Weightless Playlist<\/em>, transforms a journey through Egypt\u2014the windblown sand, speed, strange sounds, skin and organs\u2014into sound waves, bodily movements and algorithmic paths, before translating them once again into painting.<\/p>\n

For this body of work, Chen turns away from technological polish and toward an experience that is fractured, luminous, unruly and, in the same breath, joyful.<\/p>\n

Stillness, in Fok Wai Chung\u2019s hands, holds its own vitality. Motion, in Chen\u2019s, carries an unguarded candour. Fok Wai Chung\u2019s classicism is not nostalgia, but a belief in transforming a longing for beauty in the present. Chen\u2019s engagement with the contemporary and the technological affirms, in turn, the value of embodied experience in human art.<\/p>\n

Two sensibilities, disparate in temperament and form, meet through collision and response, generating a new resonance without erasing their differences.<\/p>\n

Grooving & Resonance<\/em> is not an exhibition in search of synchrony. It is the resonance that arises when two distinct lives collide, respond to one another and generate something new.<\/p>\n<\/div>\n

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\nFok Wai Chung\uff5cArtist Profile
\n<\/a><\/p>\n


\nI-Chun Chen\uff5cArtist Profile
\n<\/a><\/p>\n<\/div>\n

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\u5bc2\u975c\u7684\u8457\u9678 Where Silence Lands<\/strong><\/p>\n

50 \u00d7 60 cm, 2026
\nMineral pigment on canvas<\/p>\n<\/div>\n

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Leaving a blank space within the crevices of time, so that the echoes of the soul may gently land in the quietest corner.<\/p>\n<\/div>\n<\/div>\n

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\u5bc2\u975c\u7684\u8457\u9678 Where Silence Lands<\/strong><\/p>\n

50 \u00d7 60 cm, 2026
\nMineral pigment on canvas<\/p>\n<\/div>\n

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Leaving a blank space within the crevices of time, so that the echoes of the soul may gently land in the quietest corner.<\/p>\n<\/div>\n<\/div>\n

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\u6709\u9650\u4e4b\u4e2d\u7684\u7121\u9650 The Infinite Within the Finite<\/strong><\/p>\n

60 \u00d7 120 cm, 2026
\nMineral pigment on canvas<\/p>\n<\/div>\n

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There is a solitude of space
\nA solitude of sea
\nA solitude of death, but these
\nSociety shall be
\nCompared with that profounder site
\nThat polar privacy
\nA soul admitted to itself \u2013
\nFinite Infinity.
\n\u2014 Emily Dickinson<\/p>\n

We drift as if upon the boundless seas of a multiverse, quietly pursuing the essence and meaning of life within the sanctuary of this garden.<\/p>\n<\/div>\n<\/div>\n

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\u6d88\u878d Dissolution<\/strong><\/p>\n

80 \u00d7 60 cm, 2026
\nMineral pigment on canvas<\/p>\n<\/div>\n

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As the boundaries of the self quietly dissolve, we cease to be an isolated island, becoming the very tide of the entire ocean.<\/p>\n<\/div>\n<\/div>\n

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\u963f\u5c3c\u746a\u548c\u963f\u5c3c\u59c6\u65af Anima and Animus<\/strong><\/p>\n

30 \u00d7 30 cm, 2026
\nMineral pigment on canvas<\/p>\n<\/div>\n

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They coexist within our inner universe, like day and night, like ebb and flow, mirroring one another yet never devouring each other. That is the profoundest, most authentic wholeness of the soul.<\/p>\n<\/div>\n<\/div>\n

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TRACK 01\uff5c\u5c0f\u8abf Minor Key<\/strong><\/p>\n

120 \u00d7 90 \u00d7 5 cm, 2026
\nAcrylic on canvas<\/p>\n<\/div>\n

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Minor Key<\/em> continues my impressions of the body and sound while dune-bashing in the Egyptian desert. It also stems from a different understanding of rhythm and emotion that emerged through learning music production.<\/p>\n

The off-road vehicle rose and fell at high speed between the dunes. Some people screamed, while others laughed wildly. As someone with a more introverted temperament, I barely made a sound, yet internally I continued responding to everything before me. The \u201clike\u201d symbol in the painting resembles a sound left unspoken, becoming a quiet inner response.<\/p>\n

The work also incorporates the concept of string instruments. The dragging and stretching movement between the bow and the string while playing evokes for me the relationship between lines and sound. I therefore replaced the paintbrush with paint-covered cords, dragging, swinging and waving them across the canvas, allowing bodily movement to transform into linear traces that extend like the sound of strings.<\/p>\n

Minor Key<\/em> is not about sadness, but about a more restrained kind of sound: something that is not spoken aloud, yet continues to vibrate within the body and across the image.<\/p>\n<\/div>\n<\/div>\n

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TRACK 02\uff5c\u5927\u8abf Major Key<\/strong><\/p>\n

120 \u00d7 90 \u00d7 5 cm, 2026
\nAcrylic on canvas<\/p>\n<\/div>\n

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Major Key<\/em> also responds to the experience of dune-bashing in Egypt, but transforms that memory into a more outward-reaching sound, rhythm and bodily energy.<\/p>\n

The jeep surged up the dunes before sliding rapidly down from the heights. Screams, laughter, wind and engine sounds emerged simultaneously. Each person\u2019s body seemed to become a different musical note, forming an improvised composition within the same moving space.<\/p>\n

Compared with the string-like dragging and extension of Minor Key<\/em>, Major Key<\/em> introduces stronger images of rhythm and percussion. The paint-covered cords were swung and struck against the canvas with greater force. Lines overlap in abundance and paint splashes across the surface, like drumbeats falling again and again, transforming sound into visual rhythm and impact.<\/p>\n

Major Key<\/em> leaves behind a life rhythm that expands outward. Different people, different sounds and different bodies come together in a brief encounter, forming an energetic ensemble.<\/p>\n<\/div>\n<\/div>\n

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TRACK 03\uff5c\u98c6\u6c99 Desert Rush<\/strong><\/p>\n

36 \u00d7 36 \u00d7 5 cm, 2026
\nAcrylic and sand on canvas<\/p>\n<\/div>\n

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This work was inspired by my experience in the Egyptian desert. At the time, I was sitting inside a jeep travelling at high speed. Amid the intense shaking and movement, I felt myself enclosed within a mechanical space. The vast desert and the small vehicle formed a powerful contrast, while the human body existed within this tiny mechanical environment, with the blood seemingly flowing rapidly through an enclosed vessel.<\/p>\n

The jeep sped, descended and skidded across the tops of the dunes, producing an intense sensation of weightlessness. The body was thrown into space, as if the soul had been separated from the body.<\/p>\n

The tracks left by the wheels in the sand resemble blood vessels and pulses within the human body, extending outward and vibrating continuously. The lines and flowing forms in the work come from my sensations of speed, pressure, excitement and weightlessness. They express both the smallness of the human being within the vastness of nature and a mental state in which bodily sensation and speed merge into one.<\/p>\n

Desert Rush<\/em> attempts to depict a sensory experience between tension and freedom, as well as the energetic relationship that moves between the machine, the body and nature.<\/p>\n<\/div>\n<\/div>\n

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TRACK 04\uff5c\u7279\u5beb Close-Up<\/strong><\/p>\n

36 \u00d7 36 \u00d7 5 cm, 2026
\nAcrylic and sand on canvas<\/p>\n<\/div>\n

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Close-Up<\/em> originates from my experience of spatial scale in the Egyptian desert, and is also connected to my previous experience of using drones and observing changes in altitude and viewing distance.<\/p>\n

Standing in a desert with almost no boundaries, everything within sight was an ever-expanding field of yellow. This reminded me of the way we see when a drone rises and descends: the altitude constantly changes, and the scenery on the screen enlarges and shrinks accordingly. Yet in the desert, whether the line of sight rose or fell, it still seemed to remain within a similar expanse of yellow.<\/p>\n

More strangely, the ground beneath my feet had once been the geological space of an ancient ocean. Although I was clearly standing on the surface of the earth, my consciousness seemed to be falling into another time and depth.<\/p>\n

The sky, the desert and the ancient seabed therefore overlapped with one another. Close-Up<\/em> is no longer concerned only with distance, but with the question of where we are when space loses its coordinates: How high above the world are we at this moment, and how deep within it do we stand?<\/p>\n<\/div>\n<\/div>\n

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TRACK 05\uff5c\u98a8\u4e2d\u7684\u7d72\u5dfe Scarf in the Wind<\/strong><\/p>\n

45 \u00d7 80 \u00d7 5 cm, 2026
\nAcrylic on canvas<\/p>\n<\/div>\n

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During a journey through Egypt, the women travelling with me raised their sun-protective scarves into the air. The wind suddenly lifted the fabric, and the scarves turned, twisted and fluttered in the sunlight. At that moment, everyone began to laugh with happiness. It was a brief scene, yet it became one of the most vivid memories of the journey.<\/p>\n

Watching the scarf constantly change shape also brought back my past experience of studying 3D animation. In a virtual space, the movement of wind and fabric must be constructed through physical simulations involving fluid dynamics, gravity and collision. The scarf before my eyes, however, completed these complex transformations naturally in the real world.<\/p>\n

Wind has no physical form, yet it became visible through the movement of the fabric. In that moment, the real world and my experience of 3D animation briefly overlapped. What remained was the sunlight, the flying scarf, the sound of laughter and the instant when life was unexpectedly touched.<\/p>\n<\/div>\n<\/div>\n

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TRACK 06\uff5c\u4e5f\u8a31\u6c92\u6709\u672a\u4f86\u795e\u8a71 Perhaps There Is No Future Myth<\/strong><\/p>\n

120 \u00d7 90 \u00d7 5 cm, 2026
\nAcrylic on canvas<\/p>\n<\/div>\n

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The Egyptian myths that once existed in books and the imagination suddenly appeared before my eyes at a tangible scale during this journey. Deities, murals and histories from thousands of years ago intersected with my everyday experience of using AI to generate images, producing a sense of temporal and spiritual dislocation.<\/p>\n

This dislocation also entered the method of painting. When drawing in Photoshop, digital brushes can imitate oil paint. In AI-generated images, objects often appear blurred, misaligned or physically inaccurate, as if the pixels themselves were drifting apart. In the actual oil paintings, I therefore reversed the process, using paint to imitate these digital brushstrokes and the inaccuracies of AI-generated imagery.<\/p>\n

Computers once simulated painting. Now painting has turned back to simulate AI. Ancient myths, actual history and generated images overlap with one another. Are we looking at myths left behind by the past, or are we creating the future myths that have not yet arrived?<\/p>\n<\/div>\n<\/div>\n

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TRACK 07\uff5c\u7ffb\u767d\u773c Eye Roll<\/strong><\/p>\n

22.5 \u00d7 15.5 \u00d7 2 cm, 2026
\nAcrylic on canvas<\/p>\n<\/div>\n

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As a heavy user of the internet and AI, emojis have long been part of my everyday language for responding to the world. Very often, a simple image can take the place of an emotion that is difficult to explain clearly.<\/p>\n

Eye Roll<\/em> deliberately leaves the eyes without pupils. Once the position of the pupils changes, or different forms, symbols and lines are added, the same image can produce an entirely different emotion. It is therefore not a fixed facial expression, but more like an emotional interface waiting to be filled.<\/p>\n

This also responds to the experience of Desert Rush<\/em>: the same vehicle, the same desert and the same moment of weightlessness may produce screams from one person, laughter from another and silence from someone else. The world may remain the same, but each person\u2019s experience is different. Through a playful internet reference, Eye Roll<\/em> leaves behind a gaze that has not yet been determined.<\/p>\n<\/div>\n<\/div>\n

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TRACK 08\uff5c\u5927\u7ffb\u767d\u773c Big Eye Roll<\/strong><\/p>\n

36 \u00d7 36 \u00d7 5 cm, 2026
\nAcrylic on canvas<\/p>\n<\/div>\n

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Big Eye Roll<\/em> enlarges the small facial expression originally found on a mobile phone screen to a scale approaching that of the human body. It further shifts painting from an act of \u201clooking\u201d toward one of \u201cparticipating.\u201d<\/p>\n

The completion of the work does not mean that the creative process has truly ended. A collector may choose to personally add their own gaze, lines or symbols, allowing the work to continue taking place within another person\u2019s life. Alternatively, they may choose to do nothing and allow the blank space to remain. Both intervention and non-intervention are choices permitted by the work.<\/p>\n

For me, this also changes the meaning of \u201ccompletion\u201d in painting. The work no longer ends only at the moment when the artist leaves the canvas. It may continue to transform when it is viewed, collected or even encountered again many years later. The artist leaves the eyes; the viewer determines the gaze. The blank space itself is also a form of expression.<\/p>\n<\/div>\n<\/div>\n

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\u7267\u7f8a\u4eba <\/strong>2026
\n\u9ad8\u6e05\u55ae\u983b\u9304\u50cf Single channel HD video
\nEdition 6 + 2 AP<\/p>\n<\/div>\n

\nView Chinese Lyrics\uff5c\u770b\u4e2d\u6587\u6b4c\u8a5e<\/summary>\n

[Verse 1]<\/strong>
\n\u9ec3\u660f\u628a\u6c99\u4e18\u647a\u6210\u6c89\u9ed8\u7684\u4fe1
\n\u98a8\u6cbf\u8457\u908a\u754c\u5bc4\u4f86\u4f60\u7684\u59d3\u540d
\n\u5929\u4e0a\u7684\u661f\u5404\u81ea\u4eae\u8457\u5bbf\u547d
\n\u800c\u6211\u5728\u8352\u539f\u5b78\u7fd2\u5931\u53bb\u5149\u5f71<\/p>\n

[Verse 2]<\/strong>
\n\u4e00\u62b9\u767d\u7d17\u5f9e\u9ad8\u8655\u7de9\u7de9\u964d\u81e8
\n\u8f15\u843d\u5728\u5973\u5b50\u5c1a\u672a\u9192\u4f86\u7684\u7709\u5fc3
\n\u70c8\u65e5\u5ffd\u7136\u6536\u56de\u5168\u90e8\u8072\u97f3
\n\u9060\u65b9\u99dd\u9234\u7a7f\u8d8a\u6642\u9593\u7684\u5f4e
\n\u6709\u4eba\u671d\u6211\u8d70\u4f86 \u5f88\u6162 \u5f88\u8fd1<\/p>\n

[Pre-Chorus]<\/strong>
\n\u984d\u524d\u767c\u71d9 \u50cf\u820a\u50b7\u518d\u6b21\u7526\u9192
\n\u4f60\u7684\u638c\u5fc3\u843d\u4e0b\u5b89\u975c\u7684\u9670\u5f71
\n\u7f8a\u5976\u4e00\u6ef4\u4e00\u6ef4\u56de\u5230\u5507\u908a
\n\u4e7e\u88c2\u7684\u4eba\u9593\u958b\u59cb\u6709\u4e86\u56de\u97f3<\/p>\n

[Chorus]<\/strong>
\n\u6c99\u54c8\u62c9\u7f8a\u5976\u6d41\u9032\u6211\u7684\u5fc3\u4e95
\n\u628a\u591a\u5e74\u4e7e\u65f1\u4e00\u5bf8\u4e00\u5bf8\u559a\u9192
\n\u82e5\u4e0d\u662f\u4f60\u5728\u98a8\u6c99\u88e1\u7b49\u547d\u904b
\n\u6211\u4ecd\u6f02\u6d41\u5728\u6c92\u6709\u5cb8\u7684\u591c\u88e1<\/p>\n

[Verse 3]<\/strong>
\n\u591c\u8272\u6cbf\u8457\u5730\u5e73\u7dda\u6162\u6162\u8513\u5ef6
\n\u9234\u8072\u50cf\u8ab0\u907a\u843d\u7684\u5f9e\u524d
\n\u8352\u6f20\u7684\u5f71\u5b50\u7531\u767d\u8f49\u9ed1
\n\u842c\u7269\u5728\u9ed1\u6697\u4e4b\u524d\u5b78\u6703\u544a\u5225<\/p>\n

[Bridge]<\/strong>
\n\u5922\u88e1\u6c99\u4e18\u5316\u4f5c\u7121\u4eba\u7684\u795e\u6bbf
\nAnubis \u5b88\u8457\u53e4\u8001\u8861\u91cf\u7684\u6642\u9593
\n\u5929\u79e4\u4e0a\u653e\u8457\u611b\u8207\u8667\u6b20
\n\u771f\u7406\u4e4b\u7fbd\u843d\u4e0b \u6bd4\u601d\u5ff5\u66f4\u8f15<\/p>\n

[Final Chorus]<\/strong>
\n\u6c99\u54c8\u62c9\u7f8a\u5976\u6d41\u9032\u6211\u7684\u5fc3\u4e95
\n\u628a\u8352\u5e74\u7684\u5b64\u55ae\u6eab\u67d4\u704c\u6e89\u6210\u6797
\n\u82e5\u9019\u4e00\u751f\u53ea\u662f\u70ba\u8207\u4f60\u76f8\u8a8d
\n\u9858\u966a\u4f60\u8d70\u904e\u6240\u6709\u7121\u540d\u6c99\u5883<\/p>\n

[Outro]<\/strong>
\n\u98a8\u9084\u5439\u8457 \u6c99\u9084\u79fb\u52d5\u8457
\n\u800c\u6211\u7d42\u65bc\u6709\u4e86\u53ef\u4ee5\u62b5\u9054\u7684\u5730\u65b9<\/p>\n<\/details>\n

\nView English Translation\uff5c\u770b\u82f1\u6587\u7ffb\u8b6f\u6b4c\u8a5e<\/summary>\n

[Verse 1]<\/strong>
\nAt dusk, the dunes fold into a silent letter
\nThe wind sends your name along the border
\nThe stars above each shine according to their fate
\nAnd in the wilderness, I learn to lose light and shadow<\/p>\n

[Verse 2]<\/strong>
\nA veil of white slowly descends from above
\nAnd gently falls upon the brow of a woman not yet awake
\nThe blazing sun suddenly withdraws every sound
\nDistant camel bells cross the curve of time
\nSomeone walks toward me, slowly, coming near<\/p>\n

[Pre-Chorus]<\/strong>
\nMy forehead burns, like an old wound awakening once again
\nThe quiet shadow of your palm falls upon me
\nA drop of milk returns, drop by drop, to my lips
\nThe cracked earth of humanity begins to echo<\/p>\n

[Chorus]<\/strong>
\nSahara\u2019s goat milk flows into the well of my heart
\nAwakening years of drought, inch by inch
\nIf you had not waited for fate among the blowing sands
\nI would still be drifting through a shoreless night<\/p>\n

[Verse 3]<\/strong>
\nNight slowly spreads along the horizon
\nThe bells sound like something someone left behind
\nThe desert shadows turn from white to black
\nBefore darkness arrives, all things learn to say goodbye<\/p>\n

[Bridge]<\/strong>
\nIn my dream, the dunes become a deserted temple
\nAnubis guards the ancient measure of time
\nLove and indebtedness are placed upon the scales
\nThe feather of truth falls lighter than longing<\/p>\n

[Final Chorus]<\/strong>
\nSahara\u2019s goat milk flows into the well of my heart
\nGently watering the loneliness of barren years into a forest
\nIf this life exists only so that I may recognize you
\nI will walk beside you through every unnamed desert<\/p>\n

[Outro]<\/strong>
\nThe wind is still blowing, the sand is still moving
\nAnd at last, I have somewhere I can arrive<\/p>\n<\/details>\n<\/div>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_empty_space][vc_column_text]<\/p>\n

\n


\nGrooving & Resonance \u2014 Fok Wai Chung \u00d7 I-Chun Chen\u00a0<\/strong>
\nCurator | Lyau Kang-Ywe
\nExhibition period | October 17\u2013November 28, 2026
\nOpening reception | October 17, 2026, 3:00 p.m.
\nVenue | Enlighten Gallery
\n(1F, No. 222, Shidong Road, Shilin District, Taipei City)
\nTel | +886-2-28310558<\/p>\n<\/div>\n

[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"

[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_empty_space height=”20px”][\/vc_column][vc_column][vc_column_text] Grooving & Resonance \u2014 Fok Wai Chung \u00d7 I-Chun Chen Duo Exhibition \u00a0by Lyau Kang-Ywe [\/vc_column_text][vc_column_text] With long-standing experience in thangka painting, Fok Wai Chung inhabits a world that is quiet without ever being distant. Into…<\/p>\n","protected":false},"author":6,"featured_media":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","portfolio_category":[],"portfolio_tag":[173],"acf":[],"_links":{"self":[{"href":"https:\/\/enlighten-gallery.com\/en\/wp-json\/wp\/v2\/portfolio_page\/20024"}],"collection":[{"href":"https:\/\/enlighten-gallery.com\/en\/wp-json\/wp\/v2\/portfolio_page"}],"about":[{"href":"https:\/\/enlighten-gallery.com\/en\/wp-json\/wp\/v2\/types\/portfolio_page"}],"author":[{"embeddable":true,"href":"https:\/\/enlighten-gallery.com\/en\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/enlighten-gallery.com\/en\/wp-json\/wp\/v2\/comments?post=20024"}],"wp:attachment":[{"href":"https:\/\/enlighten-gallery.com\/en\/wp-json\/wp\/v2\/media?parent=20024"}],"wp:term":[{"taxonomy":"portfolio_category","embeddable":true,"href":"https:\/\/enlighten-gallery.com\/en\/wp-json\/wp\/v2\/portfolio_category?post=20024"},{"taxonomy":"portfolio_tag","embeddable":true,"href":"https:\/\/enlighten-gallery.com\/en\/wp-json\/wp\/v2\/portfolio_tag?post=20024"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}