By ZHANG MIN

IN the course of time, one disposition has given way to two contrasting forms of expression for Chen Shuxia. One is of being tolerant with people and temporal matters, while the other makes excessive demands on herself regarding the quality of her art. She is, for example, uncaring, to the extent of indifference, towards material considerations, lacking the interest to pursue quality or "brand" goods, but when it comes to painting, she is exacting and relentless.

Fashion is fascinating, and can always attract attention. In an unconscious way, the love of fashion constitutes a campaign, forcing one to tread according to the rhythms of the times, and to follow the group that walks in a certain direction. The strength of the fashion "group" lies in the immediate satisfaction experienced at being recognized as one of its members. This is what many artists nowadays work hard to achieve. Chen Shuxia, however, is always at a certain border where she has, intentionally or otherwise, missed an opportunity. This makes it difficult for those who feel compelled to classify, and to "climb a tree to catch a fish," to grasp and to prove. With the kind of aversion she has for fashion, as if to her it were beneath contempt, it is difficult for her to think in terms of stirring up controversy by deviating from it. For her, there is no danger, or intent of being controversial for its own sake. As a woman artist, she is like a breath of fresh air, being most concerned about intuitive self confidence and self examination, rather than being plagued with the anxiety of beautiful women competing for male attention, or the frustration of a feminist.

When the so-called "reality" in life is transformed into a painting, it brings "dignity" back to real life, and gives a picture of "China Made" Chinese culture.

Chen Shuxia likes to observe the details round her. She loves life, and likes to draw inspiration from its every facet so as to comprehend its full implications. This kind of acceptance of perspective makes her face turmoil round her with courage, and walk her way as she always has, obstinately living her own reality. All this is expressed in her works. In her so-called "flower" expressions, Chen Shuxia invented a series of objects intended to divert attention. Whether it be "A confident flower" or an "Autumn color contamination", it is actually nothing more than a stall on which is something resembling a flower-like touch of the brush -- a means to bridge the gap between a rational expectation and the disappointment of reality. It is not difficult to discern a shaft of sunshine, lingering on the surface of a wall, on top of a table, or in the background, for no reason other than to echo the visible change from dimness. It adds further mystery to the space between the misty painting and the viewer. Her still life works always go beyond the meaning of the object painted, and take on a far wider-reaching significance. They contain nothing bright, as regards color or coquettishness, but an underlying pride and aloofness. In her demonstration of the use of color Chen Shuxia expounds on its endless energy through her wise quest to seek gray within brilliant color, and inspiration from the gray.

Chen Shuxia has always given full rein to her skill, keeping away from fashion and creating the reality of life. Art and life have always been simple to her.