Christina Chow

"... Christina Chow's paintings are coming from a different point of view and from a different perspective. Trained in New York, Chow scrutinizes her subject matter -- whether figurative, landscapes, or urban cityscapes -- to give it geometric accuracy. At the same time, she allows manipulations of color -- as in her paintings of rooftops and bridges -- as if in the process of mingling the refraction of light over the course of a day. Chow has also dealt with interior, expressive themes as in her "rain" series, largely composed of bold black and white divisions of space. This theme was recently revisited in a painting of the sea during a recent stay in Puerto Rico. Whether realism or abstraction, Chow is very much within the realm of structure, a lyrical structure at times, but also a poignant one, a sensitive structure that opens the threshold to feeling, an intimacy beyond or before the heroics of earlier abstract expressionism. " excerpt from "Intimate Painting: 4 Artists from Colombia"-The Painting Center exhibition catalog. New York, May , 2005, by the critic Robert C. Morgan.

"Christina Chow's paintings have also evolved from the figure, a kind of personalized representation, struggling for distance, searching for gravity within the depth and overlay of painterly values and hues. There were two self-portraits in the show that operated as a statement of faith in the sense of moving ahead -- a quest for the self through the act of painting. The best work by Ms. Chow was a painting called "Moon over the Cathedral". It was also the largest. The color was applied in a loose grid that suggested an European-style abstraction, a hinge between the signifying properties of color and the structure of surface. " excerpt from New York Art Magazine, Vol. 6 no. 7/8, by critic Robert C. Morgan.

"Christina Chow cuenta que toda la vida ha tenido a la pintura como expresión, desde que su memoria le permite. Ella nació en Taiwan, llegando a Colombia a los ocho anos, pero empezó a pintar las paredes a los seis "mis padres estaban muy preocupados porque no podía dejar pared en blanco, tenia que llenarlo de alguna manera con colores".... Cuando ella pinta, su sentir va mas allá de los pensamientos y explica lo que sucede en ella al pintar:" a veces soy bien premeditada, pero casi siempre en la mitad del recorrido, me pierdo, prefiero dejar que el mismo cuadro me lleve".... Ella forma parte del grupo galería de ventana llamada "Catedral de las Miserias Eróticas" en el Lower East Side....Para Christina... el amor es el fundamento de su obra, pues "el amor tiene que ver con una fuerza de creatividad que existe en todo el mundo y lo que uno hace con las relaciones humanas, es cultivar la capacidad de nutrir esa comunicacion y para mi, eso es el amor". La finalidad de su vida es hacer lo que ha venido a hacer en este mundo... Su gloria es el poder establecer ese contacto con la creatividad y sustentarlo, siendo sus obras siempre un comienzo, porque "mi obra nunca termina" excerpt from Diario de la Prensa, New York, March 22, 2001 by critic Ricardo León Pena-Villa.