The Four Elements: Interview with Artist Leigh Li-Yun Wen
“The Four Elements” is a new exhibition of artwork by Leigh Li-Yun Wen that will be exhibited at New York’s Fremin Gallery from November 16 to December 31, 2023.
The world-renowned Taiwanese-American artist, Leigh Li-Yun Wen is showing her newest exhibition, The Four Elements of Leigh Li-Yun Wen, at the Fremin Gallery in New York City this November. Leigh Li-Yun Wen is originally from Taipei, Taiwan, and now resides in New York City. She has been a full-time artist since the early 1980s and has even served as a cultural ambassador envoy during the Clinton, Bush, Obama, Trump, and Biden administrations. Her paintings have been exhibited all over the world and featured in many major magazines such as Art in America, New American Paintings, Art in Asia, Sotheby’s Auction Magazine, Christy’s Auction Magazine, and Harper’s Bazaar.
“The Four Elements” explores the four elements — earth, air, fire, water — in a mixed media platform. Leigh recently discussed her practice, and this exhibition, via an exclusive interview.
Meagan Meehan (MM): How did you initially get interested in becoming an artist and how did you break into the industry?
Leigh Li-Yun Wen (LW): I have been interested in being an artist since I was 10 years old. I was always in art class and also private lessons. I went to art school for college and continued to graduate school. I never thought I can do something else and after I graduated from college I was nominated as the top 10 talented youth in Asia. I started my art career right after my MFA. Besides creating art works, I continued to participated competitions and exhibitions. Most importantly, I was also volunteering with a lot of museums and the NY State Education Departments for Art.
MM: How did you develop your unique painting style?
LW: In my first college, I majored in Chinese painting and I learned the ink and brush paintings on hand made rice paper, also calligraphy, stone, carving, restoration and art history in general. I started western painting in my second college degree. From my Asian Art training which was based on eastern philosophy, Taoism and Zen philosophies, I learned and admired the of power of nature and the balance of Ying and Yang, plus the minimalistic approach in Chinese paintings. I started to try using the lines to compose my works. I found the Yin and Yang in printmaking. I started to focus on creating the style on my works, lines, relieve surfaces with stylus subtraction by using the cursive lines.
MM: How did growing up in Taiwan influence you artistically?
LW: In the 1980’s, art was not a preferred subject to study in college, and it was not well respected. My parents did not want me to major in art. They thought art is not a career and I would not make a living with art. I was just sent to the art class because my parents wanted me to stay out of trouble. By growing up in a ceramic town, I find I have great passion in forms, shapes, colors all visual elements. The love of making art had been deep rooted during my childhood.
MM: What were the biggest culture shocks that you experienced when you moved to the United States?
LW: I was shocked by how little Asian Art was respected, and how little people know about the category. I was told not to mention about my Asian Art Education background in college. I realized that was all wrong. A numbers of Masters from The Black Mountain College had big influential from eastern art. Some of them even went to the orient to learn about eastern art. The experimental school Black Mountain College became a crucible for mid-20th century avant-garde art, music, and poetry. Founded on the principles of balancing the humanities, arts, and manual labor within a democratic, communal structure, the school’s mission was to create “complete” people. Founded on the principles of balancing the humanities, arts, and manual labor within a democratic, communal structure, the school’s mission was to create “complete” people. It attracted a range of prominent teachers, including Bauhaus artists Josef and Anni Albers, composer John Cage, painter Willem de Kooning, and poet Charles Olson. With an emphasis on interdisciplinary work and experimentation, students such as Robert Rauschenberg, Cy Twombly, Ray Johnson, Kenneth Noland, and Ruth Asawa went on to make significant contributions to avant-garde art.
MM: How are the art scenes in New York and Taiwan different?
LW: I think the art scenes both in New York and Taiwan are certainly on the same tracks. This is the very interesting period, art scenes, particular art fairs, the artist and art lovers have more open minds to explore both East and Western art activities, not like in the 80’s.
MM: How did you get connected with the Fremin Gallery?
LW: It was about 10 years ago; I had my studio right next to Fremin Gallery in Chelsea on 27th street. I saw the gallery grow from the very first day when they opened. I was very impressed by the energies, passions, and professionalism of the gallery. The gallery cultivated a number of young artists when they started their career. Fremin Gallery continue their mission to promote mid-career artists, and well-established international artists. The gallery was standing incredibly strong even during the pandemic without any hesitation.
MM: This latest series was inspired by the elements, so how did you come up with that concept for an exhibition?
LW: I had been working with the themes of four elements. Earth, Air, Fire and Water for some time. Eight years ago, I was back in Asia and the works had been changed after I went back to my mother land. Different climates, vegetations, lights, terrains, people. I started the flower series promoting female artists, sailboat for traveler like me, wine crates from recycling subject, glacial and iceberg of global warmth concern. After the pandemics, I felt humans have to realize through negligence our earth is very sick.
MM: Out of all your artworks, have you any favorites? If so, which ones and why?
LW: I do not mass produce my works. I usually work on one concept each time for each artwork and it depends on what I was thinking and trying to tell the viewer. Every piece is my favorite. It is a hard question. Overall, I like most silver-gray shades, and monochromic paintings. Such as Silver Moon Light and Night Water series.
MM: How did you get your work known and get the opportunities to show it worldwide?
LW: I did not try to get my artwork known. I believe a good artwork will find its owner. Galleries and Museums, curators usually found me through mass media magazines and the internet.
MM: What has been the highlight of your artistic career so far?
LW: I think I enjoy every moment when I share my artwork. I had been fortunate enough to work with NYFA, Pollock-Krasner Foundation, The State Department of United States. Many US Embassies around the world and with National Art Organizations in Taiwan. Most eventful will be the Culture Envoy and Exchange with The State Department to Botswana Africa in 2018.
MM: What events, projects, or other exhibitions are coming up soon and is there anything else that you would like to discuss?
LW: I have plans for Nation Taiwan Museum of Art coming in the next year or so.
It will take about two full years of preparation. I am excited about the exhibition.