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Lives and works in Taiwan.

Working primarily in painting and through an ongoing engagement with pigments, fibre and earth.

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My work grows from a contradiction: the body infinitely small, yet perception boundless.

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I am drawn to certain forms and presences in the non-human world, returning to them through prolonged looking—moths, wild orchids, fragments of the sea, jellyfish. Over time, my attention shifts from their appearance towards something deeper: what makes each of them feel like itself.

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A painting may begin with an image, a memory, an act of looking, or simply a feeling that is difficult to describe. I usually have a sense of what I want to explore before I begin, but not exactly what the painting will become. Working through this space between intention and discovery, I pay close attention to the qualities of pigments, fibre, earth and other materials, negotiating with them rather than trying to control them completely. When the clay ground cracks as it dries, I have come to embrace these accidents—they bring a quality of weathering more natural than anything I could plan. The image gradually emerges through this process; materials are not merely carriers of an image, but active participants in its formation. As materials shift the direction of a work, my response alters how I see the emerging image.

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These ways of working have taken different forms in Night Atlas, Deep Field and Tidal Breath. I continue to move between them, returning to each series as new works emerge.

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​陳洛晗（Luo-Han Chen）

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​​​生活與工作於台灣，主要以繪畫創作，並長期在顏料、纖維、泥土等材料之間工作。

我的創作從一個矛盾出發：身體如此微小，而感知卻可以無限延伸。

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我被非人類世界中的某些形體與存在吸引，並在長時間的觀看中一次次回到它們身上——蛾、野生小蘭花、海洋碎片、水母。隨著觀看持續，我的注意力逐漸從它們的外貌轉向某種更深的東西：它們各自獨有的存在感。

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一件作品可能從一個影像、一段記憶、一次觀看，甚至只是一種難以描述的感覺開始。在開始之前，我通常已經知道自己想探索什麼，卻不完全知道畫面最後會成為什麼。我在意圖與發現之間工作，持續凝視顏料、纖維、泥土及其他材料各自的性質，與它們反覆協商，而不是試圖完全控制。當我製作的泥板基底在乾燥過程中出現裂紋時，我學會接受它們。這些裂紋帶來的風化感，往往比我原先計劃的更加自然。畫面在這個過程中逐漸浮現；材料不只是承載圖像的媒介，它們也參與圖像的形成。材料可能改變作品發展的方向，而我對材料的回應，也會反過來改變我觀看畫面的方式。

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我的創作逐漸形成不同的系列，包括《夜圖》、《深域》與《潮汐呼吸》等。我會在不同系列之間來回，並隨著創作持續回到它們。

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