Chen Lin graduated from the Chinese Academy of Arts in 2006 with a doctorate. Vice Chairman of Anhui Provincial Federation of Literary and Art Circles, Chairman of Anhui Artists Association, Member of the Art Professional Steering Committee of the Ministry of Education, Member of China Artists Association, Director of China Gongbi Painting Society, Distinguished Researcher of Chinese Academy of Arts, Professor of Art College of Anhui University. He has held solo exhibitions at Seattle World Journal Gallery and published many collections of works at home and abroad.
The birds in Chen Lin's paintings, on the basis of inheriting the inherent "mantle" of traditional culture, have gained a more independent "image" status and "thought" freedom. The "birds" in his paintings are "people" who have been detached from the natural environment or background and placed themselves in the virtual space, reminiscing about the past and the present. While intensively studying the "Fugui" and "Yeyi" painting styles of "Xu Huang", he also integrated the spirit of reality and freehand fun into Gongli's rigorous realism.
Chen Lin's works have novel composition, delicate brushwork, elegant style and unique imagery, which not only have classical meaning, but also extend modern characteristics. Through aesthetic photography, he gives philosophical connotations to visual graphics, and shows their "joys, sorrows, and sorrows" to the bottom of his wrist. Birds are placed in the human environment rather than natural spaces in a walking or standing state, and the pet birds that seem to be raised are not playmates of life and leisure, but the materialization of the subject's mind. The integration of man and bird reveals self-realization and cognition, which makes Chen Lin's creation in a state of freewheeling and closer to his personal heart, so that his works have a different visual effect and novel aesthetic interest.
Chen Lin is well aware that the level of life experience is largely derived from the knowledge structure, and the most important spiritual sustenance of art often comes from outside the painting, and only by breaking the thinking inertia of traditional painting can different knowledge systems be accommodated, and construct oneself in the chaotic visual images until the snow is without a trace. Chen Lin's extensive use of the rhetoric of objects and images presents the relationship between objects and objects, which is not the realization of the spiritual dialogue between China and the West, ancient and modern, and the result of the spiritual dialogue is to identify and extract aesthetic resources from them as the basis for establishing one's life, and present one's own value judgment.