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The online solo exhibition “Warm Rhythms of Humanity” by artist Chang Hsiu-Chin, organized by DoBe Italy, the Sino Italian Design Exchange Center, the Malaysia Impressions Arts Center, and IMPSART, and supported by the Municipality of Florence, the Shanghai Promotion Center for City of Design, and the Shanghai International Culture Association, will launch on June 15th, 2025, at 12:00 (Italian time).

 

 

Preface

Warm Rhythms of Humanity ～ Chang Hsiu-Chin’s Mixed Media with Cloth and Paint

By Becky Choong

 

Artistic conception is the soul of painting, and Chang Hsiu-Chin’s fresh, unique, and dazzling creativity offers a truly stunning visual experience.

This beautiful season of May and June—from the great celebration of Mother's Day to Father's Day—centers on the warm beauty of familial love and a nurturing home atmosphere. I have specially invited the works of Chang Hsiu-Chin, creator of the “Art of Fabric Flow,” to share her captivating mixed media creations that uniquely combine collage and painting.

In the interview, she especially mentioned how her creative process has been deeply influenced by the experience of accompanying her aging parents—a touching journey that naturally nurtured her artistic inspiration. She said: “Let the fabric speak. Let the cloth reveal its function and express its material beauty. That is the essence of Flowing Fabric Art—an art form where fabric becomes the voice of emotion and memory.”

“I've held many solo exhibitions. I dare to speak, to act, to imagine, and to break through! In the diverse artistic scene of Taipei, finding a new path makes me a rare blossom in full bloom!”

The formal principles of fabric art encompass emotional elements—joy and sorrow, union and separation, love and desire. In recent years, as her parents aged, Chang set aside her long-standing commitments to education and work away from home. Returning frequently to her hometown to accompany them, she deeply came to understand the sorrow in the ancient saying: “The tree longs for stillness, but the wind will not cease; the child wishes to care, but the parents are no longer there.”

During this time, witnessing how even a single step had become an immense challenge for her elderly parents, and how their dignity waned as they lay bedridden—subject to the care, or even mishandling, by caretakers or foreign aides—she saw the helpless, embarrassed look on her father’s face and quietly wept. She could only lament the cruelty and helplessness of life. These experiences profoundly moved her and inspired her to explore themes of familial, romantic, and platonic love in her art. Images of these bonds repeatedly surfaced in her mind. The deep emotions cultivated over these years of sincere companionship infused her fabric-based artworks with richer meaning, giving birth to a series centered on mother-daughter affection.

“My artworks have become a reflection of the vast tapestry of human life, filled with countless stories and sentiments—waiting for observant viewers to explore and interpret.”

Indeed! Her journey from traditional oil painting to a new, expressive visual language began when she participated in—and won—awards for her fabric-based lantern designs. Dissatisfied with the constraints of traditional painting, she sought a new path by studying under Taipei’s renowned abstract master Chiao Shih-Tai, aiming to break away from conventional figurative approaches. Through extensive experimentation and exploration, Chang Hsiu-Chin developed a style that fuses oil painting with imaginative patchwork using patterned fabric pieces. This technique allowed her to exaggerate or distort spatial forms, creating simplified visual images that express the essence of her inner world.

Naturally, the path of artistic exploration was filled with challenges. As an artist, Chang Hsiu-Chin gradually set aside the academic traditions she had learned, choosing instead to break away from the long-held emphasis on realism and the faithful reproduction of nature in art. She began by sketching and layering with crayons—using symbolic, simplified geometric forms and dynamic swirling lines to compose her abstract works—deliberately stepping beyond the boundaries of recognizable imagery. Through this painstaking process, she cultivated a new artistic territory uniquely her own.

Later, she discovered that only the human figure could truly capture the essence of cultural and emotional landscapes. Thus, she began to reintroduce figures using simple, rustic outlines composed of geometric forms. In her heart, she realized that the spiritual language of art lies in truth. “Truth” is the very source of creativity and the convergence of artistic thought. Without sincere expression, one loses the “beauty” of art—a conviction that continually shaped and tested her creative thinking.

This artistic maturation process is a genuine reflection of her inner state and rich creative capacity. With captivating emotional depth and imagination, she draws from the myriad conditions of human life—from daily conversations and shared laughter, to the bittersweet tapestry of emotions and desires. Through all this, she weaves her interpretation of the spirit of the times, guided by her personal artistic beliefs and vision.

While traveling through Europe, she sought out artworks imbued with dreamlike atmospheres. Transitioning from three-dimensional forms to two-dimensional planes, she discovered even greater freedom in reconstructing space. When she encountered the works of 20th-century artist Marc Chagall, she became even more determined to immerse herself in a free and poetic artistic language. Inspired by Chagall’s dreamscapes—unbound by time or space, filled with whimsy and surreal harmony—she realized the joy and fulfillment of expressing her thoughts, dreams, and desires through art.

She began outlining graceful, flowing forms in oil paint, layering them with brightly colored and textured fabric pieces. This composition process enabled her to fully express her inner emotions in a vivid and unrestricted way.

Marc Chagall, though influenced by Cubism’s analysis of form, was not interested in dissecting physical structures. Instead, he reassembled his memories—recollections of experience—into deeply emotional and poetic compositions. Chagall once said, “I only paint what resides within me.” Inspired by his surreal style, Chang Hsiu-Chin also began to infuse her later works with elements of fantasy and the unconscious, presenting people and objects through a dreamlike, imaginative lens.

Thus, in Chang’s series of works, we see warm depictions of maternal and filial bonds—children snuggling close, playful memories of early childhood—nostalgic portrayals of a time when children basked in the undivided love of their parents. These images are full of sentiment, evoking a tender era of tears, laughter, and unfiltered affection. Bright, blooming floral fabrics often appear in her work, symbolizing joyful memories. Traditional plaid patterns, paired with minimalist retro motifs, evoke a nostalgic ambiance. The beauty of these scenes lies in their simplicity, richness, and a tranquil, harmonious familial atmosphere—stories of love and togetherness continue to unfold on her canvas.

She has also used fabric in her works to portray the longing and romance of love blossoming “beyond the hills,” immersing viewers in a dreamlike world full of cultural and emotional resonance. In explaining her piece Flora, the Flower Goddess, Chang said, “The goddess of love embraces all blooming flowers. Because her heart is filled with love, blossoms flourish all around. A red cloth banner parts, signifying her descent to Earth. Fortunate souls—open your arms wide and receive her blessing!”

In Secret Garden, the path of love is portrayed as a journey through a secluded sanctuary—an intimate space where souls meet, understand, and cherish each other in privacy and harmony.

The realm of imagination is boundless. Chang Hsiu-Chin’s abstract vision opens a world of limitless associations, expressed through an array of colorful fabric patterns and textile blocks that convey varying spatial and visual effects. Her works, deeply connected to nature, portray a subjective landscape of human tenderness—where laughter and tears coexist, ecstasy meets melancholy, and farewells are charged with passion. By expressing profound emotional content through abstraction, and integrating figurative elements with conceptual forms, she creates paintings filled with optimism, vitality, and the radiant warmth of humanity.

Her art evokes an experience of heartfelt truth, goodness, and beauty—leaving viewers with a profound sense of warmth and emotional comfort.

 

 

 

Chang Hsiu-Chin

 

Born in 1956 in Yunlin County, Taiwan, China

Graduated in 1977 from Taipei Municipal Girl Teachers' Junior College

Graduated in 1983 from the Department of Fine Arts, National Taiwan Normal University

 

Current Positions:

Former Chairwoman of Taiwan Lantern International Development Association

President of the Cabin Art Research Association

Supervisor of Taiwan Watercolor Association

Board Member of Taiwan International Watercolor Association

Board Member of Hong Kong–Macao–Taiwan Art Association

Consultant of Shennongjia Art Academy, Hubei

Member of Kaohsiung Art Alliance

Member of Yilan Art Society

Member of the Female Artists Association

Member of the Inter-Century Oil Painting Research Association

 

Solo Exhibitions:

1994 Watercolor Exhibition at Taichung City Culture Center

2009 In Praise of Love – Solo Exhibition at Taipei Culture Center

2009 Solo Exhibition at Art Pillar

2014 The Art of Fabric – Chang Hsiu-Chin Modern Painting Exhibition, Taipei

2015 Fabric and Journey – Chang Hsiu-Chin Painting Diary Exhibition at Jilin Gallery

2015 Fabric Says… – Solo Exhibition at the National Dr. Sun Yat-sen Memorial Hall

2016 Ignite the Power of Art – Art Expo Taiwan at Taipei World Trade Center Hall 2

2017 The Art of Fabric – Solo Exhibition at Freedom Hill Café, New Taipei City

2017 Ignite the Power of Art – Art Expo Taiwan, China at Taipei World Trade Center Hall 1

2017 Bubu Wei Ying – Chang Hsiu-Chin Solo Exhibition at Dazhi Index Creative Center

2018 The World is Love – Chang Hsiu-Chin Solo Exhibition at Taoyuan International Airport Arts Space

2019 Chang Hsiu-Chin Watercolor Art Exhibition at Wudang Mountain Geological Museum, Hubei

2020 40th International Audio Art Exhibition at The Grand Hotel, Taipei

2020 Artist-in-residence at the Tamsui Art Residency Program

2022 Cloth Saying Painting – Chang Hsiu-Chin Solo Exhibition at Hidden Art, Taoyuan

 

Joint Exhibitions:

2010 Joint Exhibition in Penang, Malaysia, with Malaysian artists

2011 Joint Exhibition at the inaugural International Contemporary Art Biennial in Zhengzhou, China

2013 Joint Exhibition with female artists from China, Taiwan (China), and Malaysia in Shanghai

2013 Incheon Global Cities Arts Exchange Grand Festival, South Korea

2014 Friends Forever Joint Exhibition in Sendai, Japan

2014 Co-hosted the “Three-Person Art Space” with Huang Yanrong and Chen Huanwen

2015 Kaohsiung International Female Artist Exhibition

2015 Kaohsiung International Female Artist Invitational Exhibition – Paris Touring Exhibition

   Venue: 59 Rivoli, “Chez Robert, Électrons Libres”, Paris, France (Aug 3–17, 2015)

2016 Feminist Fresh Restart – 2016 International Women Artists Invitational Exhibition, Taitung, Taiwan, China

2016 Her Presence in Colours XII – Kaohsiung International Women Artists Exhibition

2016 Joint Exhibition at Lu Yanshao Art Gallery, Shanghai, China

2016 Taiwan International Watercolor Society Joint Exhibitions in Taoyuan and Kinmen

2017 Art See Her – Women’s Art Special Exhibition, Taoyuan, Taiwan, China

2017 Suzhou–Taiwan Cross-Strait Calligraphy and Painting Exchange Exhibition

2017 Not Forgetting the Original Intention – Love for Hakka Exhibition of Renowned Artists from Home and Abroad

2017 Participated in the Satellite Exhibition of the 57th Venice Biennale

2017 Minnan Cross-Strait Painting Exhibition at Chang Xiong Art Gallery, Xiamen

2017 Taiwan–Japan Watercolor Exchange Exhibition at Chi Mei Museum

2018 Revival of Elegance – Cross-Strait Invitational Exhibition at Zhongshan Memorial Hall

2018 The Possibility of Watercolor – Art Exhibition, Taoyuan, Taiwan, China

2018 Homeland, Land, Memory – Yunlin 100 Artists Group Exhibition in Douliu and Taichung

2018 Power and Beauty of Asia – Charity Art Exhibition at Bangkok Art and Culture Centre, Thailand

2018 Her Presence in Colours XIII – Shanghai International Women Artists Exhibition

2018 Taichung–Busan International Art Exchange Exhibition at Taichung Port Art Center

2018 Cross-Strait Youth Artists Exchange Exhibition – Shennongjia, Hubei

2018 Hanmo Fragrance – Cross-Strait Integration of Chinese Culture Calligraphy and Painting Exhibition, Beijing

2018 Ancient Canal, New Rhythms – Millennia of Heritage – Sketch Exhibition by Taiwanese and Suzhou Artists in Taipei and Suzhou

2019 One Family Across the Strait – Ji-Tai Painting and Calligraphy Exhibition at Hebei Art Museum

2020 Taichung – 3rd International Jie Artists Joint Exhibition

2020 Taipei – 50th Anniversary of Taiwan Watercolor Association & Taiwan–Japan Exchange Exhibition

2020 Taichung – Taiwan, China & Australia International Watercolor Exchange Exhibition

2020 Taipei – Taiwan, China International Watercolor Association Member Joint Exhibition

2022 Love and Hope – World Female Arts Festival at Taitung Art Museum

2023 The 67th May Painting Society Members Exhibition – Zhongzheng Memorial Hall, Taipei

2023 Malaysia – 4th Water Reflection World – Beauty of Water Rhyme International Joint Exhibition

2023 8th International Artists Joint Exhibition of Beauty Exploration (Online)

 

 

《Mommy’s tender love 》

72.5cm x 91cm Mixed Media / 2022

 

《Accompany 》

107cm x 86cm Mixed Media / 2021

 

《Mother-daughter bond 》

107cm x 50.5cm Mixed Media -Wood / 2021

 

《A hug from Mommy 》

60cm x 80cm Mixed Media / 2020

 

《Be sweet and needy 》

65cm x 53cm Mixed Media / 2021

 

《Mother-daughter time 》

53cm x 65cm Mixed Media / 2022

 

《Mother-Son Bond 》

30cm x 30cm Mixed Media / 2018

 

《Mother-Son Bond 》

60.5cm x 72.5cm Mixed Media / 2021

 

《Mother-Son Bond 》

60.5cm x 72.5cm Mixed Media / 2021

 

 

 

 

 

 

Becky Choong 

 

Born in Penang, Malaysia. Art Critic, Chinese Orchestra and Art Exhibition Curator & Artist. 

1973-1978 SMJK Jit Sin High School 

1983 graduated from National Taiwan Normal University NTNU. 

2016 Graduated from Nanjing University of the Arts, China. 

1992 Founder & Art Director of Impressions Arts Center, Malaysia. 

2018 Founder & Chief Editor of Internet Art Platform 【国际艺象IMPSART】.

2023 Curator & Art Critic of Sino-Italian Design Exchange Center operated by DoBe Group ，China.

Committee Member of Penang State Art Gallery, Malaysia.

 

Becky Choong formerly served as the Chairperson of the International Watercolour Society (IWS) Malaysia. She was the Chief Judge for the state-wide children’s art competition organized by the century-old Kwong Wah Yit Poh and has written art critiques for major Chinese-language newspapers such as Kwong Wah Yit Poh, Guang Ming Daily, Sin Chew Daily, and Nanyang Siang Pau. She has also contributed as a columnist and art critic for art magazines including Cai Die Xuan and others.

 

She has acted as an art advisor to various associations and has held six solo exhibitions. In collaboration with China, Malaysia, and Singapore, she has planned and directed numerous Chinese orchestra concerts and art charity exhibitions in support of social causes. Over the years, she has curated more than 80 art exhibitions and participated in over a hundred local and international group exhibitions of varying scales.

 

In 2014, she was invited by the Penang State Museum and Art Gallery as the chief curator for the “ Retrospective of Cheong Pooi Yip “and served as a principal art critic for the exhibition. In 2015 and 2017, she was invited to write art critiques for the Soka Gakkai Malaysia solo exhibitions for Cheong Pooi Yip and Dato Tan Chiang Keong. In 2016, she was the lead art writer for the “Retrospective of James Sum “ also held at the Penang State Museum and Art Gallery. In 2019, she was once again invited by the museum to serve as Guest  Curator  and principal critic for the “Retrospective of Cheah Yew Saik” honoring the dean of the Kuala Lumpur College of Art.

 

Her artworks are held in private and corporate collections, including listed company Action Industries(Malaysia) SDN BHD , the Penang State Museum and Art Gallery, the Henan Overseas Chinese Calligraphy & Painting Academy (China), Henan Art Museum (China), Seni Gallery Mutiara and other private collectors and institutions.