"Storytelling through writing, drawing, painting, marking, singing, dancing, playing with the brushstrokes."

Fuen Chin is a self-taught artist who eventually pursued a fine art research degree at the Royal College of Art in her late 30s. She used to have a career in fashion institutions where she started making drawings of people’s wardrobes. The journey has been explorative. From making drawings of the wardrobes, she became fascinated with fine art mediums. She felt as if when she waved a magic wand, the vibes between human, animal, insects and flora became rhetoric. Her paintings streamed along the journey from the microscopic to the macroscopic views. Her arms competed with the moments of the stories in the ever-changing utopia. Certain scenes of the journey lost neither in narrative nor vibe but vision.

   Some of her paintings are experimental pieces. Fuen has been working on how to define the discrepancies between vibe, vision and narrative and to work out a methodology to correlate the three parties. She looks forward to developing a series of artwork contributions to practice-based fine art research.

   Through making paintings, Fuen seek to depict the rhetoric vibes within and between human, animal, insects and floral. This is inspired by the narratives from her beloved late grandmother about her favourite chrysanthemums and the community garden in her hometown in Malaysia. There have other ornamental plants too, such as Hibiscus Rosa-Sinensis in range of colours: crimson red, golden yellow, bright white, orange and the pink mini Ixora that seldom bloomed. Her late grandmother loved flowers, especially loved admiring blossoms in the morning. However, her vision started to decrease drastically in her early 80s. The ever-changing scenes in the blossoming garden became blurry to her. For a period, she almost lost seeing all blooms in vivid colours.

   Through other sensory organs, such as nose, ears, skin and palms, she experienced anew vibes around her from molecular level. The narrative suggested a series of fragmented, distorted, molecular images derived from visual deficiencies. Fuen made experimental paintings to depict the images in deficit. The paintings are the epitome of the complex visual conditions of her late grandmother’s eyes. It aims to channel the deficient images to aesthetical direction and to encourage a respect, a bravery and a confession of the imperfect conditions of human eyes, such as aging, obscurity and impermanence are innovatory artistic direction.