Alan Chin
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ALONE- TOKYO METROPOLITAN ART MUSEUM ALAN CHIN SMALL PAINTINGS: MP'S WALL AT OCHI PROJECTS CONNECTED- EAST LAKE INTERNATIONAL ECOLOGICAL SCULPTURE BIENNALE, WUHAN THE POSSIBLE: THE BERKELEY ART MUSEUM STUDIO: DOWNEY PROJECTS COVERED: CHILDRENS ACTION NETWORK GLITCH: PRIVATE COLLECTION WINTER WONDERFUL: ESTATE OF TONY PRITZKER BEYOND TRADITION: BAY AREA LEGACIES AT THE RICHMOND ART CENTER TIME TRAVEL: JOURNEY THROUGH A DREAM: FIREHOUSE ART COLLECTIVE GALLERY SOUTH BACH TO AFRICA A CYCLE: ART FOUNDRY GALLERY REFLECTION SERIES: STEVE HERRMANNS GALLERY TW0: STAN DANN + ALAN CHIN: GALLERY 276 MISSION CLAY FACTORY- ARTIST IN RESIDENCE SENIOR SHOW PART 1: ISABEL PERCY WEST GALLERY GRONINGEN: ACADEMIE MINERVA MUSEUM, THE NETHERLANDS HEARTS IN SAN FRANCSICO
Home ART ALONE- TOKYO METROPOLITAN ART MUSEUM ALAN CHIN SMALL PAINTINGS: MP'S WALL AT OCHI PROJECTS CONNECTED- EAST LAKE INTERNATIONAL ECOLOGICAL SCULPTURE BIENNALE, WUHAN THE POSSIBLE: THE BERKELEY ART MUSEUM STUDIO: DOWNEY PROJECTS COVERED: CHILDRENS ACTION NETWORK GLITCH: PRIVATE COLLECTION WINTER WONDERFUL: ESTATE OF TONY PRITZKER BEYOND TRADITION: BAY AREA LEGACIES AT THE RICHMOND ART CENTER TIME TRAVEL: JOURNEY THROUGH A DREAM: FIREHOUSE ART COLLECTIVE GALLERY SOUTH BACH TO AFRICA A CYCLE: ART FOUNDRY GALLERY REFLECTION SERIES: STEVE HERRMANNS GALLERY TW0: STAN DANN + ALAN CHIN: GALLERY 276 MISSION CLAY FACTORY- ARTIST IN RESIDENCE SENIOR SHOW PART 1: ISABEL PERCY WEST GALLERY GRONINGEN: ACADEMIE MINERVA MUSEUM, THE NETHERLANDS HEARTS IN SAN FRANCSICO BIOCV
Alan Chin
Alan ChinJuly 10, 2019Comment

Alan ChinJuly 10, 2019Comment
YES HOUSE, Venice Beach, Los Angeles, California, USA. 2019
Alan ChinJuly 10, 2019Comment

Alan ChinJuly 10, 2019Comment
Gold Mountain, 2018
Alan ChinJuly 10, 2019Comment

Alan ChinJuly 10, 2019Comment
Untitled, 2018
Alan ChinJuly 10, 2019Comment

Alan ChinJuly 10, 2019Comment
SPECTRUM: WHEN I SEE YOU, TRANSFORM ORGANIC MATTERS, TO THE POINT, 2018 Tenzo Tea HQ, Santa Monica, California, USA.
Alan ChinJuly 10, 2019Comment

Alan ChinJuly 10, 2019Comment
Rainsford, “Too Close”, Music Video, Art Direction. 2016 </iframe>" data-provider-name="YouTube"
Alan ChinJuly 10, 2019Comment

Alan ChinJuly 10, 2019Comment
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Alan ChinMay 14, 2019Comment

Alan ChinMay 14, 2019Comment
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Alan ChinMay 14, 2019Comment

Alan ChinMay 14, 2019Comment
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Alan ChinMay 14, 2019Comment

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Alan ChinMay 14, 2019Comment

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Alan ChinMay 14, 2019Comment
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Alan ChinMay 14, 2019Comment

Alan ChinMay 14, 2019Comment
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Alan ChinMay 14, 2019Comment
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Alan ChinMay 14, 2019Comment
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Alan ChinMay 14, 2019Comment
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Alan ChinMay 14, 2019Comment
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Alan ChinMay 14, 2019Comment

Alan ChinMay 14, 2019Comment
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Alan ChinFebruary 22, 2019

Alan ChinFebruary 22, 2019
X, 2014-2018. Polystyrene, mylar, spray paint, bamboo, steel, iron, latex acrylic, nylon, and paper. 108’’ x 108’’x 12’’ Currently on view at innerspace Gallery. Curated by Artstagia.
Alan ChinFebruary 21, 2019

Alan ChinFebruary 21, 2019
HUMAN CIRCLES, 2019 In collaboration with Yes Theory, over 5,000 volunteers with three days advance notice using the power of social media were asked to participate around the world in a happening connected to the “Alone” sculpture of 100+ artists at the Tokyo Metropolitan Art Museum, in Japan. See the Yes Theory Episode below: https://www.youtube.com/watch?v=WZXPxRwZwYE #block-yui_3_17_2_1_1550692388730_115370 .sqs-gallery-block-grid .sqs-gallery-design-grid { margin-right: -20px; } #block-yui_3_17_2_1_1550692388730_115370 .sqs-gallery-block-grid .sqs-gallery-design-grid-slide .margin-wrapper { margin-right: 20px; margin-bottom: 20px; }
Alan ChinFebruary 21, 2019

Alan ChinFebruary 21, 2019
Untitled, 2018, Alan Chin Untitled, 2018, Steel
Alan ChinFebruary 21, 2019

Alan ChinFebruary 21, 2019
Block Party, 2018, Alan Chin Block Party, 2018. Aluminum (recycled soda and beer cans).
Alan ChinFebruary 19, 2019

Alan ChinFebruary 19, 2019
Concept for Sculpture/ 5th Crosscurrent Exhibition at Tokyo Metropolitan Art Museum: Japan Statement:  We live in a materialistic and structured society filled with order and rules. Humanity is challenged to question the boundaries we share as mankind. Mankind often forgets to be “kind.” The complex ecosystems and microcosms within our very planet are immense and seemingly infinite. From the ever-expanding universe of outer space to our infinite inner expansion within, we continue to discover and uncover new layers within our landscape.  Instant, digital, social media, and artificial intelligence allow us to connect like we never have before, though we can still feel disconnected and alone. The need for codependency and biodiversity are becoming more a part of the discussion for our future. Could it be that we are moving from the age of technology approaching the age of connection? How can we transform into more of a peaceful collective geographical relationship with one another?  How can we re-imagine how life is organized on earth? How do we gift the wisdom that will empower the future?  Every breakdown creates opportunity for a breakthrough. We are mark makers, carbon or otherwise. Our future is at a critical state in need of individual value and universal access. From the air we breathe to the food we eat we must remember to investigate the natural order of things evolving from a political geography dividing the world to functional geography connecting us.  We are the food we eat. Only together we stand the chance to do something meaningful, building a better planet for all. We are in a global revolution, taking a quantum leap of mobility to a global network civilization. We must build more pathways to allow more connection and quality exchange. Connectivity is the new reality. Connectivity is opportunity. Connectivity is destiny.  Dear Artist, I invite you to participate and collaborate in a multifaceted sculptural installation that will first take place in the Metropolitan Museum Art in Tokyo as part of the show, “CROSSCURENT.” The sculpture is titled “ALONE” which comes from the Old English root “ALL ONE” meaning together oneness in the whole, until time and translation shifted its meaning to being by one self.   I would like to use this opportunity to shift the dialogue about what it means to be alone and the connection of what it means to be together. The sculpture is a constellation of artist coming together with the idea derived from “ it takes a village to raise a child” and “we are on the planet together.” Though we may have social boundaries that seemingly separate us from one another, we are on this planet together. The spontaneity of chance and the movement throughout the space will allow the work to be an access point, connecting the dots of our time by allowing the possibility of infinite angular focal points, movement, and chance to shift the vocabulary of connection. This sculpture will create a safe space for the multigenerational discussion of connection.  I am asking loved ones, friends, family and artist whom I met to participate. The first 100 to say yes will be included in the installation in Tokyo. I am asking for the artist to contribute one disk with a diameter ranging from 1” to 36”, if you are not going to make it to Tokyo the diameter of the disk must be 24” or less, and delivered to me by January 11th unless discussed otherwise. The disk is a ½’’ thick max unless you talked to me about a specific material. *Please let me know if you will be coming to Tokyo as there are other logistics to discuss.   Each disk represents an individual story as a starting point as part of a constellation of connection and pulse with in a physical space. The disk must be a circle and able to be suspended in air, it must be flat. Each disk will represent an artist’s individual story. The disk will be a part of the larger sculpture installation. If you agree to participate in this experience you are agreeing to gift your work to this sculpture as a form of collaboration with the intention of this sculpture to be gifted to the viewer to experience as a whole work of art together. Each artist is allowed the opportunity to write a brief statement in 300 words or less, that will be included in a catalogue/book of the sculpture and it’s participants. Each artist asked has been selected to participate as an individual.   This is a call to the artist, humanity, connection, and love.  
Alan ChinFebruary 18, 2019Comment

Alan ChinFebruary 18, 2019Comment
Alan Chin, All Kinds of Weather, 2018 All Kinds of Weather, 2018 Wood (French oak, grown by Napoleon Bonaparte for battleships), steel, and glue. 60”x 60” x 36” Downey Projects is pleased to present an exhibition of new work by California-based artist Alan Chin. This is the artist's first solo exhibition in Los Angeles and the most comprehensive exhibition of his work since 2010, showcasing the multiple facets of Chin’s studio practice and time while living in the greater Los Angeles area. In his psychologically charged objects and paintings, Chin portrays cultural modes against intangible circumstances. Whether depicting family history, gender, spirituality, mainstream culture, nature, or complex cosmic questions, his work attempts to navigate the continuous abundance of information through visual language in contemporary life. By integrating elements of painting, ceramics, architecture, installation, performance, and film, he investigates the value we place on objects, color, and form, and explores how we create meaning within the vocabulary of life. Using everyday materials, ranging from found objects, nature, and humanity, he notes sculpture and painting as evidence of behavior. By using the process of experimentation, his work seems to hover in a transitional state of paradox, as if caught between life and death. His work becomes a self-perpetuating system, seemingly capable of a goal, decay, and rebirth.  Like scientific instruments of measurement, his sculpture attempts to quantify and organize the universe through a fragile, personal system of order within the seemingly chaotic world. His work investigates culture’s obscure undercurrents within our structured society by exploring the power of the human capacity.

 Alan Chin © 2019