« …In his Collectivity Memory series from 2002, Chen delves further into the collective psyche of city dwellers. These large works (averaging 2.5 x 3 meters) depict the urban landmarks, symbols, and architecture of China’s metropolises, including Shanghai, Guangzhou, Beijing,and Shenzhen. Rendered through thousands of monochrome fingerprints, they evoke a visual landscape of the mind, their textured, grainy, and indistinct surfaces recalling the deconstructed beauty of a pixelated image. While fingerprints are traditionally regarded as a marker of individual identity, their employment here suggests narratives of mutual recognition and the hazy lines created by transition all space; these landmarks define the city itself and become indelible symbols etched into collective consciousness. »
Rosalind Holmes Yishu march 2007

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