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Lo Chan Peng 羅展鵬, 1983

Lo Chan Peng was born in Chiayi, Taiwan and graduated Fine Art Department of Chinese Culture University.
Lo Chan-Peng had won many domestic art contests, and became well-known with “Strawberry Journal” series, which honestly records the sub-culture of young generation.
Lo uses his paintings to express what he observed from the real world, which not only depicts the mindset of young generations nowadays, but can be seen as a kind of self-dissect.

- "It has been quite a few years since my last attempt on working with different series. It has been in the making for many years, but the imaginations on creating had only come together unexpectedly at the right time.
I had not created in series after “Ashen Face”, for it is almost like binding myself with an unseen lock. However, I can still put some of my latest works into a few categories: my favoured female portraits in the style of “Ashen Face” with new techniques and changed style, “Lumière”, “Syrian Children” and “Historical Figures”.
The transformation from “Strawberry Generation” to “Ashen Face” is an extended study on a similar subject. The “Strawberry Generation” focuses on the understanding of one’s nationality, the political environment and one’s own culture.
“Because we have failed to find our own cultural uniqueness, our generation would like to establish our own, and what is unique about our culture is that there is nothing distinguishing about it (or a mixed character)”.
The “Strawberry Generation” series was roughly developed on such principles, and the later “Strawberry Generation - The Night Marching” series aims to explore the phycological side of this particular generation and their uneasiness towards the society and politics".

"My painting techniques have changed through these past few years’ exploration. If one sees hype realistic painting as a path, and the change of style as the finishing line to this path, then one could certainly reach a higher ground before the change of style, yet staying within the same path.
Just like the wise Leonardo da Vinci whom I had mentioned earlier, his accomplishment had extended beyond visual art, breaking away from the path to a vast plain. There are only borders to the plain, but there is no order.
I have been trying to navigate where I am, and where I should head to in these past few years, meaning that I have been slowly moving away from hyper realistic paintings. At the moment I quite enjoy the art of calligraphy, and this is where I would like to steer toward to.
Looking at the current art world, more and more paintings are included in the exhibitions, with influences from the Renaissance to modernism and contemporary art philosophy.
One could see it in the pioneers such as Gerhard Richter, Luc Tuymans, Michaël Borremans, Peter Doig, Jenny Saville and Adrian Ghenie.
These inspirational artists’ works are reflective of the reinterpretation of photography as reflected in figurative paintings, they also light up the path where I am heading to".


2020 - Select 50!, 22nd International Annual Portrait Competition, Portrait Society of America, USA;
2008 - The Sketching Competition Of Sayling Wen Cultural and Educational Foundation, golden award;
2008 - Kaohsiung Awards;
2007 - The Chi-Mei Art Cultivation Awards;
2006 - The 24th Tao Yuan Arts Exhibition of Tao Yuan County, excellent painting;
2006 - Taiwan Police College anniversary art exhibition, first prize;
2006 - The Sketching Competition of CCU, second place;
2006 - Taipei county police bureau art exhibition, first prize;
2006 - The Cathay New Age Potential Art Award, silver award;
2005 - Shuang-He art exhibition, second place;
2005 - The 23rd Tao Yuan Arts Exhibition of Tao Yuan County, first prize (water color).

Lo Chan-Peng è nato a Chiayi, Taiwan e si è laureato al Dipartimento di Belle Arti della Chinese Culture University.
Ora sta studiando per un master in Western Painting presso la National Taiwan Normal University.
Lo Chan-Peng ha vinto molti concorsi d'arte nazionali ed è diventato famoso con la serie "Strawberry Journal", che registra onestamente la sottocultura delle giovani generazioni.
Lo usa i suoi dipinti per esprimere ciò che ha osservato dal mondo reale, che non solo rappresenta la mentalità delle giovani generazioni di oggi, ma può essere visto come una sorta di autodissezione.
Esplora ciò che si cela sotto la superficie dei nostri volti, alla ricerca di qualcosa di spirituale, qualcosa di sacro e misterioso, qualcosa di impossibile da tradurre in parole.
La sua complessità, che abbraccia elementi opposti come caos e ordine, fede e dubbio, liberazione e prigionia, consente a Lo Chan Peng e al suo sentirsi diviso tra gli estremi, con un ampio divario tra qui e la sponda opposta, e colloca la sua opera nel mezzo.