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Fred Chuang

OBVERSE PAINTING--aerosol acrylic seen through very thin, clear panel. The work has the appearance of copper enameling, but with the spontaneity and scale of painting.

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Inundate, Painting, 36" x 48", $5,000.00

Ophelia, Painting, 46" x 34", $5,000.00

Svengali, Painting, 48" x 36", $5,000.00

Couple, Painting, 48" x 360", $4,000.00

Ondine, Painting, 36" x 48", $5,000.00

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Artist Name:
Fred Chuang
Location:
Washington, D.C.

Statement:
At the end of the last Century, in the midst of my fourth decade, I discovered a means of accessing my “purely” creative well. Until that time, I had solely engaged my “interpretive,” design side, having had virtually no formal artistic training on my way to an MFA in Theatre Design, Scenery and Costumes. I discovered my painting technique in an exploration of the visual properties of art glass with the objective of engaging the flexibility and spontaneity of painting. The bonus was that my new process, working on the back side of a thin, clear panel, forced me to relinquish a generous amount of control. This twist allowed me to rely on my intuitive resources, injecting surprise into the process of creation. The resulting paintings are often confused with copper enamel or art glass. This delight in the process, along with the continuing discovery of the possibilities of my technique, drives me down many different creative avenues. Many of these subjects and styles have been barely explored—time is limited; but I am thoroughly enjoying the exploration. TECHNIQUE My “micro-pointillist” paintings are created using aerosol acrylic enamel on the obverse side of clear co-polyester panels--PETG. They are “obverse” paintings, rather than “reverse” paintings, in that they are not the product of a backward, formulaic process, but rather the result of a creative “dialogue,” action answered by a strategic, intuitive reaction, generated to be viewed through the clear surface. Working from behind is not the equivalent of working in reverse. Using water, static, objects (found or created—to mask or print), and other masks and influences, I determine shapes and textures, building the paintings, color layer by color layer, overlaying textures and hues. I also use sgrafitto and solvents to clear and repaint areas or to manipulate the laying-on of colors in acrylic and other media, including collage, oil-pastel, and metallic dust. In fact, the optical qualities of the thin polymer, through which my work is viewed, becomes an additional “medium” in the finished work. Each painting is unique—unrepeatable, by virtue of the technique. After completion, the paintings are annealed, giving the surface a “fingerprint,” a final mark of distinction. Some paintings are coated with a thin film of polyurethane to protect the surface. As with all pigmented fine art, these paintings should be sheltered from direct sunlight, impact, and excessive heat.

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