李真的作品在曾於紐約、芝加哥、巴黎、倫敦、 北京、上海、新加坡、首爾等地展出。重要的機構 個展包括： 2007 年成為受邀於威尼斯雙年展會外展 未來展望美術館舉辦個展； 2008 年北京中國美術館 （ National Art Museum of China ）個展； 2009 年新 加坡國家美術館戶外個展； 2011 年台北自由廣場舉辦 亞洲最大型的戶外雕塑展。 2012 年西雅圖弗萊伊美術 館（ Frye Art Museum ）個展； 2013 年他的作品登上 巴黎凡登廣場（ Place Vendôme ），成為該地歷年來 規模最大的雕塑展覽； 2017 年台北當代藝術館個展； 2018 年上海震旦博物館個展。
根據 Artprice 的「 2024 當代藝術市場報告」（ The 2024 Contemporary Art Market Report ），統計 2023 年 7 月 1 日至 2024 年 6 月 30 日之間「全球拍賣成 交額前 500 名當代藝術家」（ Top 500 Contemporary Artists by Auction Turnover ），李真的排名中第 68 位。
目前有有四件李真的拍賣成交價超過百萬美元，足見 其市場表現非常活絡。
李真的作品已被多位國際重要藏家及機構所收藏， 如美國媒體大亨魯柏．梅鐸（ Rupert Murdoch ）、紐 約電影學院董事長傑瑞．夏洛克（ Jerry Sherlock ）、 新加坡六星級瑞吉酒店（ St. Regis Hotel ）、新加坡 SingTel 電信公司董事長、上海湯臣一品、上海證大 集團、南京 仁恆集團（ Yanlord ）、影星周潤發、趙薇， 以及海內外知名企業家與私人收藏家、全台幾間建設 公司建案的公共空間等，都有收藏或陳列李真的作 品。而公共收藏部分，則有高雄市立美術館和日內瓦 奧蘭斯卡基金會（ Olenska Foundation, Geneva ）等。
Li Chen, Adherents, 2022, fiberglass-reinforced resin, 222 x 141 x 81.5 cm
▼ 李真威尼斯雙年展《 空中的能量》 2007 年展出作品《天界山水》
Li Chen Solo Exhibition In 52nd Venice Biennale: Energy of Emptiness-In Search of Spiritual Space Landscape in Heaven is included in the exhibition.
李真與作品《風神》
Chen with his art work Lords of Wind
Li Chen is one of the most celebrated Taiwanese sculptors in the international art market, second only to the late master Ju Ming in terms of exhibition experience and visibility. Among contemporary Chinese and even Asian sculptors, Li Chen stands at the forefront of artistic achievement. This article delves into his artistic career, creative style, contributions to contemporary sculpture, and his current standing in the auction market.
In June 2024, Li Chen was awarded the Outstanding Achievements in the Sculptural Arts Award by The American Friends of Museums in Israel. This prestigious honor recognizes distinguished living artists who have earned global acclaim and respect within the art world. Li Chen was the first Asian sculptor to receive this distinction.
According to Artprice's auction database, Li Chen ranked 412th in the 2024 World Ranking based on total auction sales, with an annual transaction volume of US$2,514,412 (approximately NT$82.28 million). In comparison, Ju Ming ranked 382nd, with an annual transaction volume of US$2,684,088 (approximately NT$87.84 million). Li Chen's current auction record was set in April 2021 with the bronze sculpture Dragon Riding Buddha, which sold for NT$64.97 million (HK$17.975 million or US$2,316,168). This is notable when compared to Ju Ming's Single Whip, which fetched NT$82.24 million (HK$21.03 million or US$2,711,507) in December 2010. (All currency conversions are based on the exchange rates at the time of sale.)
For many years, Li Chen frequently traveled between Taichung and Shanghai, drawing inspiration from classical cultural traditions. In recent years, however, he has retreated with his family to the tranquil mountains of Sanyi, Miaoli, where he resides in Twilight House, a secluded estate. The estate features meticulously designed landscapes and lush vegetation, harmonizing with several of his renowned bronze sculptures, including Pure Land, Dragon Riding Buddha, Floating Heavenly Palace, and Soothing Breezes Floating Clouds. As the seasons change, mist and mountain fog envelop the scenery, with the elegant simplicity of contemporary architecture nestled within an ethereal retreat akin to a paradise on earth.
BACKGROUND AND ARTISTIC ORIGINS
Having lived and worked in central Taiwan for most of his life, Li Chen's artistic journey is deeply rooted in his upbringing. Born Li Cheng-fu in 1963 in Laihui Village, Erlun Township, Yunlin County, he grew up in a humble farming community on the southern bank of the Zhuoshui River. His family ran a small business selling interior decoration materials, but financial circumstances were modest. His father was always busy making ends meet for the family, while his mother was a simple homemaker who also did handicrafts to support the household an everyday scene in 1960s Taiwan.
As a child, Li Chen spent much of his time immersed in nature. A mischievous boy, he loved climbing trees and often lay on large rocks, gazing up at the sky and watching the everchanging clouds with fascination. In the second grade, he discovered his love for drawing, doodling on everything from
paper to textbooks and even his school bag his grades inevitably suffered as a result. He recalls playing in the bath, molding soap into tiny figurines like soft plaster, enjoying their blurred faces when smoothed with water. He also scavenged wooden scraps from construction sites, assembling them into tanks and airplanes early experiences that would unknowingly shape his sculptural instincts.
Li Chen later moved to Taichung City to attend Shi Yuan Junior High School, where he was mentored by artists Chen Hsing-wan and Cheng Chiung-ming. He frequently went on outdoor sketching trips and won several first and secondplace awards in watercolor painting competitions across central Taiwan. Recognizing his artistic talent, he enrolled in the Fine Arts program at Dajia Senior High School, where he explored a variety of creative disciplines, including painting, sculpture, ceramics, and photography. Though he initially aspired to become a painter, he found that sculpting allowed him to express himself more profoundly and engage with the world in a tangible way. In his final year, he decided to specialize in sculpture, studying under Hwang Buh-ching until he graduated in 1981.
For Li Chen, sculpture had a unique allure it could be touched, grasped, and even embraced, offering a more direct and powerful form of expression than painting. After graduation, he worked for six months as an assistant at Tongliang Hsieh's sculpture studio, refining his skills
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Li Chen is creating the large-scale sculpture. Dragon Riding Buddha.
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李真《清風雲露》 2005 年 銅雕 版次 4/8 43 x 36 x 80 cm
羅芙奧台北 2022 春拍 編號 236 成交價 TWD 7,440,000
in figurative sculpting before enlisting in the military. During his service, he joined the Sixth Army Cultural Arts Team and won the Golden Lion Award for Oil Painting at the 1983 Luk Guang Art Exhibition. After completing his military duty, he resumed his sculptural practice and became a member of the Central Taiwan Sculpture Society (established in 1986, later renamed the Taichung Sculpture Society). The society required its members to submit one artwork for exhibition each year, ensuring that he remained committed to his craft.
After his military service, Li Chen did not pursue further education. To support himself, he worked alongside his father in the family's interior decoration business. However, in his spare time, he continued sketching quietly on his own, recording his thoughts and ideas, or molding clay sculptures from whatever materials he could find at home, enjoying the creative process.
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Li Chen, Soothing Breezes Floating Clouds, 2005, bronze, edition no. 4/8, 43 x 36 x 80 cm
Ravenel Spring Auction 2022 Taipei, lot 236, sold for USD 253,233
李真《捻花》 2010 年 銅雕 版次 7/8 55.5 x 46 x 125.5 cm
羅芙奧香港 2015 春拍 編號 032 成交價 TWD 7,200,000
Li Chen, Angelic Smile, 2010, bronze, edition no. 7/8, 55.5 x 46 x 125.5 cm
Ravenel Spring Auction 2015 Hong Kong, lot 032, sold for USD 232,258
His artistic turning point came unexpectedly in 1987. Next to his family's shop was a Buddhist sculpture workshop. One day, a devout Buddhist layman passing by noticed the 24-year-old Li Chen deeply engrossed in sculpting. After observing him for a while, the layman finally spoke: "You have talent. Why not learn to carve Buddhist statues?"
Li Chen reflected on the idea and decided to accept the opportunity. He began working in Buddhist sculpture, initially as a means of making a living and supporting his family, while quietly holding onto his dream of one day creating art on his own terms.
WATER-MOON
AVALOKITESVARA:
OPENING THE WINDOW TO FREEDOM
Taiwan's folk beliefs are predominantly influenced by Buddhism and Daoism, with temples and monasteries scattered across the island. As a result, there has long been a steady demand for Buddhist sculpture. During the 1990s, Taiwan's Buddhist statue exports reached their peak, and Li Chen was among those who benefited from this flourishing market. Early Buddhist sculpture followed a set tradition while Li Chen, under the guidance of his master, skillfully crafted traditional Buddha statues, he regarded them as mere handicrafts. However, his inherently rebellious spirit pushed him to break away from these rigid conventions and create something truly distinctive.
"At that time, I felt deeply conflicted. When sculpting Buddhist figures, one is supposed to be devoid of self Buddha statues exist to enlighten and bring salvation, emphasizing a state of selflessness. Yet for me, art is deeply personal; my works must reflect my experiences and insights. This contradiction made sculpting traditional Buddhist statues an unfulfilling process for nearly seven years. Eventually, I embarked on a dual creative path one rooted in tradition, the other in contemporary expression. It was during this period that Water-Moon Avalokitesvara was born. Traditionally, this deity was not depicted seated on a moon; I was the first to introduce this transformation. This sculpture carried a profound emotional significance for me, which is why I signed it. Ancient Buddhist sculptures were never signed only the names of their patrons were inscribed. But my connection to Water-Moon Avalokitesvara was so strong that I felt compelled to leave my mark." Li Chen recalled in an interview.
In 1992, Li Chen completed Water-Moon Avalokitesvara, his first signed Buddhist sculpture a true work of art. Traditionally, Water-Moon Avalokitesvara is depicted seated on a rocky ledge with one knee bent. In a bold departure, Li Chen reimagined the deity, placing it atop a full moon, evoking a sense of boundless serenity. This sculpture marked a turning point in his career,
TWD 5,192,000 Li Chen, Landscape in Heaven, 2001, bronze, edition no. 6/8, 75 x 63 x 122 cm, Ravenel Autumn Auction 2008 Taipei, lot 286, sold for USD 154,800
with the artwork, Landscape in Heaven
shifting his focus from traditional religious statuary to contemporary art. Water-Moon Avalokitesvara received widespread acclaim, and as his reputation grew, many artists began imitating his reinterpretation of the deity.
A 2009 report in Business Today Weekly (Issue No. 665) recounted how the monks at Chung Tai Chan Monastery were particularly impressed by Li Chen's innovative take on Water-Moon Avalokitesvara. They expressed interest in commissioning 30,000 statues. The potential order stirred mixed emotions in Li Chen each statue was valued at approximately 1.5 to 2 million NTD, which meant the deal could total at least 4.5 billion NTD. Even after production costs, his personal earnings could have reached at least 1 billion NTD. Accepting the order would have secured his wealth for a lifetime.
Yet, in the end, he declined. He refused to be bound by a single work and did not want Water-Moon Avalokitesvara to define his career. Freedom in creation was the dream he truly wished to pursue. Over the next five years, he adhered to a disciplined practice, often producing only one artwork per year. During this time, he simplified the
forms of Buddhist figures, infused them with contemporary emotions, and crafted sculptures that transcended time, blending classical beauty with modern aesthetics. Gradually, he moved away from religious art, dedicating himself fully to contemporary sculpture and artistic innovation.
In 1999, at the Taipei Art Expo, Li Chen presented a solo exhibition titled "Energy of Emptiness," a debut that made a lasting impression. However, his joy was tempered by sorrow his father, a key figure in his life, had passed away the year before. His father never supported his artistic ambitions, holding the traditional belief that art was not a viable career and that creating sculptures was a waste of time. The loss of his father became a driving force behind his work. It also gave him the closure he needed to leave behind Buddhist statue-making and fully embrace his journey as a contemporary artist. Looking back, Li Chen occasionally reflects on how his father never lived to see the success he later achieved a thought that continues to fill him with wistful regret.
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《尋找精神的空間－李真中國美術館個展》 2008 年 北京中國美術館 Li Chen 2008 Solo Exhibition at National Art Museum of China: In Search of Spiritual Sapce, 2008, National Art Museum, Beijin.
EVOLUTION AND DEVELOPMENT OF ARTISTIC STYLE
Looking back at the different phases of Li Chen's sculptural creations, they can be categorized into the following nine
1998-2000
ENERGY OF EMPTINESS
▲ 李真《煙雲供養》 2000 年 銅雕 版次 4/8 56 x 28 x 56 cm
羅芙奧台北 2008 秋拍 編號 296 成交價 TWD 1,416,000
Li Chen, Cultivated by Mist and Cloud, 2000, bronze, edition no. 4/8, 56 x 28 x 56 cm
Ravenel Autumn Auction 2008 Taipei, lot 296, sold for USD 42,218
▶ 李真《南海》 1998 年 銅雕 版次 3/8 80 x 56 x 86 cm
羅芙奧台北 2023 春拍 編號 280 成交價 TWD 3,840,000
Li Chen, Avalokitesvara, 1998, bronze, edition no. 3/8, 80 x 56 x 86 cm
Ravenel Spring Auction 2023 Taipei, lot 280, sold for USD 125,245
1992-1997
THE BEAUTY OF EMPTINESS
Li Chen extensively studied historical texts, visited museums and ancient sites, and depicted figures in a freehand style. Influenced by Buddhist and Daoist philosophies and incorporating facial expressions reminiscent of Tang and Song dynasty Buddhist statues, his works emphasized spirituality and simplicity in form. Notable pieces include WaterMoon Avalokitesvara and several serene and elegant Avalokitesvara statues such as Pu-Tuo Mountains (1993), Pensive Avalokitesvara (1994), Easeful Avalokitesvara (1995), One-Leaf Avalokitesvara (1996) and Maitreya (1997), which all exhibit an ethereal and transcendent beauty.
Expanding his scope, Li Chen explored the relationship between space and energy, creating works that exuded a transcendent, floating quality. Inspired by Laozi and Zhuangzi's philosophy, these stylized, minimalist new Buddhist statues embodied the purity of an infant's form, characterized by fullbodied, energy-filled physiques and smooth, rounded textures. Executed in ink-black hues, these pieces balanced weightiness and lightness. Representative works include Pure Land (1998), All in One (1998), Amitayus (1998), Avalokitesvara (1998), Amitabha (1998), Buddha of Healing (1998), Three Bodies of Buddha (1998), Sakyamuni (1998), Like Cloud (1999), Unceasing Cultivation/Ksitigarbha (1999), Avalokitesvara (1999), Butterfly Kingdom (1999), Nature (2000), Puzzle (2000), The Buddha's Smile (2000), The Egret's Spring (2000), Siddhartha (2000), Harmonize without Compromise (2000), Cloud Glider (2000) and Travel Through Time and Space (2000).
2001-
◀ 李真《蒙之初》 2009 年 銅雕 版次 3/8
70 x 29 x 76 cm
羅芙奧香港 2013 秋拍 編號 531
成交價 HKD 660,000
Li Chen, The Genuine State, 2009, bronze, edition no. 3/8, 70 x 29 x 76 cm
Ravenel Autumn Auction 2019, lot 531, sold for USD 85,161
SPIRITUAL JOURNEY THROUGH THE GREAT ETHER
Seeking a spiritual dimension, this series gradually transcended religious constraints, showcasing greater creative freedom. The use of silver foil or silver paint became a signature feature. Representative works include Landscape in Heaven (2001), Dragon-Riding Bodhisattva (2001), Wisdom Bodhisattva (2001), Fulfillment Bodhisattva (2001), Float to Sukhavati (2002), Clear Soul (2002), The Buddha in the Cloud (2002), Meditation (2002), Ksitigarbha Bodhisattva (2003), Cause (2003), On Cloud Mountains (2003), Traveling in Mountains (2003) and The Noumenon of Contrast (2004).
Later notable pieces include The Sound of Nature (2004), Visiting Fairyland (2004), Nothing in the Heart (2005), Soothing Breezes Floating Clouds (2005), Blessing Water (2005), Golden Rain (2005), Offering (2006), Collective Consciousness (2006), Soul Guardian (2006), Floating Heavenly Palace (2007), Riding the Wind (2007), Elysium Buddha (2007), Entering the World (2007), Ocean Deliverer (2008), Causal (2008), Heavenly Pond (2008), Flickering Moonlight (2009) and The Genuine State (2009).
In 2011, after developing the Ethereal Cloud series, Li Chen continued to produce works within this theme, such as Sky (2012), Playing in the Cloud (2012), Missing (2012), Fantasizing (2012) and Peony (2013). This series became his most prolific and sought-after at auctions.
2008-2009
SOUL GUARDIANS
Prompted by environmental and humanitarian crises, Li Chen examined the meaning of spirits in human existence. Drawing from Daoist Five Elements metal, wood, water, fire, and earth he crafted powerful, exaggerated divine figures that contrasted with the harmonious forms of his past bronze sculptures. Despite their boldness, these works carried a subtle humor.
Following his father's passing, Li Chen embarked on a decade-long spiritual journey, creating this soulstirring series, which served as a monumental offering in an era of calamity. Representative works include Judge of the Underworld (2008), Mind-Taking Guard (2008), Soul-Taking Guard (2008), Lord of Wind (2008), Lord of Fire (2008), Wind-accompanying Ear (2008), Thousand-Mind Eye (2008), Qilin (2008), Phoenix (2008), Tortoise (2008), Dragon (2008) and Tiger (2008).
2008 IMMORTALITY OF FATE
Inspired by the candles in his home shrine, this series explored spiritual spaces. Fire, as the origin of civilization, symbolized guidance, warmth, and wisdom. The figures bore elongated waists and low-slung hips, sometimes humorously resembling contemporary hip-hop attire. This series included only eight works: Illuminator (2009), Soaring Dragon (2010), Fire Master (2010), Golden Palm (2010), Aerial Pagoda (2010), The Pursuer (2010), Angelic Smile (2010) and The Pavilion (2010). 05
Extending the Soul Guardians series, Li Chen experimented with wood as a skeletal framework combined with ropes and clay, allowing oxidation and burning over time. The decay of wood symbolized the human body's deterioration, while the fusion of form and spirit reflected his existential philosophy. Key works include Indestructible Spirit I Mind-Taking Guard (2008), Sky Breaking Gale (2008), Earth Piercing Fire (2008), Indestructible Spirit II Indestructable Spirit (Soul Taking Guard) (2008), Visual Perception (2008), Audio Perception (2008), Eternity (2012) and Commoner (I) (2012).
06
2009-2010
THE BEACON WHEN NIGHT LIGHT GLIMMERS
07 2010ORDINARY PEOPLE
Not only pursuing spiritual energy, spirituality, and joy, the artist also pays attention to the issues of human nature in reality. Li Chen once said: "'Ordinary People' depicts human nature, showcasing our habits. The Ordinary People series focuses on expressing the secular and deeper aspects of human nature, exploring human emotions and the state of daily life. The primary medium is clay sculpture, deliberately featuring rough, cracked surfaces and coarse facial expressions to depict the appearance of ordinary folks.
Representative works include Boundless Desire (2010), Pool of Luxury (2012), Lip Blade (2012), Sounds of Multitude (2012), Reflection of Mind (2012), Lad (2012), Incomprehensible (2012), Pliant Man (2012), Reciprocity and Contradiction (2012) and Hollow (2013).
◀ 《大氣：李真台灣大型雕塑首展》 2011 年 台北中正紀念堂； 作品《蘭亭》表現東方人體態
The Exhibition "Greatness of Spirit" at National Chiang Kai-shek Memorial Hall, 2011; the sculpture. The Pavillion expressed the posture of the Eastern human form.
08
2011ETHEREAL CLOUD
The intangible mist and clouds inspired Li Chen's Ethereal Cloud series, where clouds and mist metaphorically represent the state of inspiration. By materializing them into abstract creations, his works attain a heightened level of symbolic expression. Rarely working with stainless steel, Li Chen cast this series in the material, which, unlike the warmth of bronze sculptures, possesses a hardness and coldness that allowed him to simulate the airy, ephemeral quality of clouds and mist, making the process both challenging and innovative.
Representative works include Moving On (2011), Mood Swing (2012), Maniac (2012), Devour (2016), Eclipse - Twilight Breeze (2016), Forsaken Relic - Keyūra (2018), Forsaken Relic - Hairpin (2018), Forsaken Relic - Finishing Touch (2018), Radiance - Burgeon (2018), Multitude of Altitudes - Uprising (I) (2018), Radiance - Chiliadal Blossom (I) (2018) and Elegant Arrogance - Xu Tie 1 & 2 (2019). These spiritually charged creations reflect Li Chen's exploration of form, material, and transcendence.
▲ 李真《極宴》 2021 年 銅雕 35 x 24.5 x 65 cm
LI CHEN
2018SPIRITUAL JOURNEY THROUGH THE MUNDANE WORLD
Li Chen extensively studied historical texts, visited museums and ancient sites, and depicted figures in a freehand style. Influenced by Buddhist and Daoist philosophies and incorporating facial expressions reminiscent of Tang and Song dynasty Buddhist statues, his works emphasized spirituality and simplicity in form. Notable pieces include Water-Moon Avalokitesvara and several serene and elegant Avalokitesvara statues such as Pu-Tuo Mountains (1993), Pensive Avalokitesvara (1994), Easeful Avalokitesvara (1995), One-Leaf Avalokitesvara (1996) and Amitabha of the Future (1997), which all exhibit an ethereal and transcendent beauty.
As Li Chen entered middle age, he confronted reflections on life and reality, continuing his philosophical exploration while returning to the essence of humanity and his original intentions. This series, while carrying the weighty yet airy ink-black aesthetic of the Spiritual Journey through the Great Ether series, reveals a state of greater serenity and detachment, where the artist's mindset becomes freer and more at ease. Within the subtlety of these works, an elegant presence emerges.
Notable works in this series include Adherents (2022), Invisible Thing (2021), Mood (2022), The Throne of Mine (2020), Pompousness (2021), Catching the Wind (2021), Extrasensory Perception · Inner Universe (2021), Story Variations (2021), Cluster (2022), The Throne of Speech (2021), Infatuated (2021), The Gift (2021), Pure Light (2021), Life in Repose I (2018), Life in Repose II (2018) and Mr. Su in Tipsy Daze (2020). These works encapsulate Li Chen's evolving artistic vision, where the philosophical meets the poetic, and detachment gives way to an understated elegance.
Li Chen, Infatuated, 2021, bronze, 35 x 24.5 x 65 cm
INTERNATIONAL INFLUENCE AND MARKET POSITION
Having dedicated over forty years to sculpture, Li Chen has progressively explored contemporary artistic aesthetics, ultimately securing a significant position in today's international art world. His works integrate Eastern philosophy, Western techniques, and contemporary artistic concepts, forming a signature style that is both "full of energy" and "simultaneously heavy and light." Not only has he set a benchmark for Chinese sculptural art, but he has also demonstrated high collectible value in the art market over the years, earning widespread international recognition.
Since becoming a full-time artist and establishing his own studio, Li Chen's earliest collaboration was with River Art Gallery in central Taiwan, a partnership that dates back to 1992. When River Art Gallery transitioned into a professional art agency in 1998, it continued representing Li Chen. In March 2004, he officially began collaborating with Asia Art Center, a partnership that has now lasted over two decades. Today, Li Chen's success in the international art scene is not only a result of his talent and dedication but also owes much to the efforts of his gallerists and agents.
Li Chen's works have been exhibited in cities such as New York, Chicago, Paris, London, Beijing, Shanghai, Singapore, and Seoul. Notable institutional solo exhibitions include the 2007 exhibition at the Future Prospect Museum as a collateral event of the Venice Biennale; the 2008 solo exhibition at the National Art Museum of China in Beijing; the 2009 outdoor solo exhibition at the National Gallery Singapore; the 2011 large-scale outdoor sculpture exhibition at Liberty Square, Taipei, the largest of its kind in Asia at the time; the 2012 solo exhibition at the Frye Art Museum in Seattle; and the 2013 exhibition at Place Vendôme in Paris, the largest sculptural showcase ever held at the historic site. More recent exhibitions include a 2017 solo exhibition at the Museum of Contemporary Art, Taipei, and a 2018 solo exhibition at the Aurora Museum, Shanghai.
During his exhibition at the National Art Museum of China, Fan Di'an, then director of the museum and later president of the Central Academy of Fine Arts, wrote in the exhibition preface: "From my point of view, Li Chen's sculptures have found solutions to problems facing the
creation of contemporary sculptures in at least three ways. That is to say, there are three ways in which his sculptures resolve many contradictions within one unified element, thereby conceiving and hastening the birth of a new kind of achievement. First, in their characteristics, his works are founded on the transcendent, but they are a combination of the worldly as well as the transcendent⋯ Secondly, his sculptures are aesthetically dominated by the Eastern yet integrate the Western and the Eastern together...Thirdly, the language of his sculptures moves from the materials towards the spiritual, and yet is a unification of materials and spirit."
Li Chen was also invited by Discovery Channel to participate in the 2013 documentary series Chineseness, where he was one of only four Chinese artists featured, garnering significant attention. In the program, he shared his creative journey, stating, "People seek spiritual and emotional fulfillment, and it knows no boundaries."
◀ 《精神．身體．靈魂－李真》 2009 年 新加坡美術館個展
Mind Body Spirit Li Chen Solo Exhibition at Singapore Art Museum, 2009
▼ 李真《攀龍燭》 2010 年 銅雕 版次 3/8 52 x 36 x 167 cm
羅芙奧香港 2016 春拍 編號 030 成交價 TWD 6,025,105
Li Chen, Soaring Dragon, 1998, bronze, edition no. 3/8, 52 x 36 x 167 cm
Ravenel Spring Auction 2016 Hong Kong, lot 030, sold for USD 185,328
In 2017, Jo-Anne Birnie Danzker, former director of the Frye Art Museum in Seattle and former director and curator of the Biennale of Sydney, attended the opening of Li Chen's exhibition at the Museum of Contemporary Art, Taipei. She remarked: "Li Chen is not making art for decoration, and that's a very important distinction. He is not trying to make a fake world that is only perfect, because that doesn't help anyone who is looking at life and their own experiences, all of these have some difficulties. I think that is one of his great contributions because the imperfection that he shows is one that we recognize and it feels true and it feels sincere."
According to The 2024 Contemporary Art Market Report by Artprice, which ranks the Top 500 Contemporary Artists by Auction Turnover from July 1, 2023, to June 30, 2024, Li Chen was ranked 68th globally. To date, four of his works have achieved auction results exceeding one million USD, demonstrating the strong performance of his market value.
Li Chen's works are in the collections of numerous prominent international collectors and institutions, including media mogul Rupert Murdoch, New York Film Academy Chairman Jerry Sherlock, St. Regis Hotel Singapore, SingTel's Chairman, and major corporations such as Shanghai Tomson Riviera, Shanghai Aurora Group, and Yanlord Land Group in Nanjing. His works are also collected by film stars Chow Yun-Fat and Zhao Wei, as well as renowned entrepreneurs and private collectors worldwide. In Taiwan, several real estate development projects feature his sculptures in their public spaces. Public collections include the Kaohsiung Museum of Fine Arts in Taiwan and the Olenska Foundation in Geneva.
Reflecting on his work, Li Chen has said, "I like to heal myself through my creations, using humor, wit, and metaphor to challenge human nature, open up the inner world of individuals, and explore an introspective space belonging to another dimension."
Now residing in Miaoli, Li Chen is far from an ordinary man. His works continue to shine on the global stage. With wisdom as his lens to observe the world, he reflects upon himself and remains deeply engaged in his artistic journey. As his exhibitions continue both domestically and internationally, we eagerly anticipate his future creations.
