Chinese artist Chen Fei discusses his first institutional solo exhibition in Europe, “Grand Lobby,” at the Consortium Museum in Dijon, France. The show features large-scale still-life paintings that blend Flemish floral traditions with contemporary Chinese symbols like VOSS water bottles and IKEA price tags, using gold leaf and red lacquer to critique class aspiration and visual culture. Chen’s studio, located outside Beijing, is where he creates detail-rich canvases inspired by film storyboarding, aiming for a cinematic, narrative-driven reading experience.
This interview matters because it highlights how Chen Fei subverts the traditional still-life genre to address geopolitics, class, and contemporary Chinese reality without resorting to caricature. His work challenges aesthetic norms and the transactional logic of visual culture, offering a nuanced perspective on how artists navigate satire and sincerity. The exhibition at the Consortium Museum marks a significant milestone for Chen’s international career, expanding his reach beyond China and prompting deeper engagement with his layered, absurdist narratives.