Strange things, mystifying
The enigmatic shapes created by Chan in his paintings are somewhere between the abstract and the figurative. Painted against spare, mysterious backdrops, some of them appear to embody a numinous experience. They could be read both as naive and playful as well as disturbing and nightmarish.
In 1973, Chan had labeled his style as "phylosym", i.e., a combination of the philosophical and the symbolic.
So what was the artistic philosophy informing his creations?
"The purpose was always to express his feelings. Also, he was fond of using symbolism to convey ideas and emotions," says Wong. Chan believed that honest works of art could trigger people's innermost feelings, she adds.
Chow remembers how seeing Heart of Shaman (1984) for the first time made her feel an instant connection with the artist, whom she would eventually marry. "I was astonished by its colors and texture," she says. "I loved the painting at first sight. It connected us. It has life in it! It is magic!"
Other exhibition highlights include an acrylic on canvas work called Carnival (1989), to which Chow also contributed. The painting was made to commemorate the opening of the Culture Corner Art Academy in Tai Po. The art school for young learners was Chan's brainchild while Chow designed the training program. "We both felt happy and excited about a new journey of life!" says Chow, recalling a particularly fulfilling moment from her time spent with Chan. "Hence Carnival evokes a festive atmosphere. The painting can be read as a happy face wearing an ethnic hat, or two sea lions playing with balls."
