藝文工作者，喜劇性格，老派思想，用力過著堅持與理想並進的人生。

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出生成長，並現居創作於石門水庫。技職體系出身，2002年起於泛視覺藝術領域謀生；2013年起擔任藝術家林建榮經紀人，並於該年與創作同好共同策劃第一屆「百元zine」展覽，以「一百元」售價限制創作成本，拿掉華麗印刷，留下讓人熱血沸騰的創意與理念，自此菲比每年緩慢持續在紙本上進行創作。

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現以做展覽的、賣作品的、畫圖的、做菜的等身份切換中。

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2020年擔任「新光合成纖維50週年」系列活動藝術總監，「2019綠島人權藝術季」協同策展人、「2018 台北白晝之夜」視覺藝術統籌、2017年 「Serendipity 國際當代首飾巡迴展」巴黎站共同策展人，同年應台灣設計館之邀，以創作者身份參展「法式百年風華」發表「我在這裡，我在那裡( Je suis ici Je suis la )」創作計畫，菲比畫出過去之身，與一往至今的心之所在──南法小城（們），並邀請同為南​​法異鄉人的雷諾瓦、雷蒙．貝內、馬克．夏卡爾，以及畢卡索一同入畫，共同見證──我們在那裡​​，​並因此接受《天下雜誌》獨家專訪。

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2016年至2018年與合作多年之金屬編織藝術家黃裕智，為深圳業主現地製作寬逾十米之作品〈漾漾〉（Rhythm of Ripples），該作永久設立於擅長超高層建築之KPF建築事務所新作「深圳灣一號」大廳。2016年菲比於元旦晨曦音樂會，擔任北美館 X 蔡海如「2016夢想打卡站 元旦版」 總策劃；該年初春於台中策畫 「找我」第三屆精銳藝術節，試圖討論訊息傳遞法──文字與圖像間的「關聯宇宙觀」 (correlative cosmology)，接續於盛夏擔任台北國際藝術村駐村藝術家聯展「接地氣，嗎?」 策展人，向參展藝術家暨觀展者提出「外地人用外地的眼光能不能看到本地人用本地的眼光看不到的本地的風光？ 」一雙雙「非在地的他者」的眼珠所反映的「我們的在地性」，能否讓我們與他們彼此的內心的「地氣」相互接應？進而提供在地人反芻、咀嚼其實可能一直都在變動中的「在地文化」，為島上展開新一回合的，複眼的開闊視野？！

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Art Facilitator Phebea Chun-Yi Shen is a comical person who also has a soft spot for old and nostalgic things. Currently based in her hometown near Shihmen Reservoir in Taoyuan, Taiwan, Shen received her education in the technical and vocational system and has been working in the art industry since 2002. She has been representing artist Lin Chien-Jung since 2013 and co-curated the project “Zine” in the same year. “Zine” is a project that sells original publications for the price of NT$100. Stripped of fancy print jobs, “Zine” seeks to present passionate creativities and ideas in a simple manner, and it is an ongoing project that Shen continues to take part in every year. Shen wears many hats and currently curates exhibitions, sells artworks, paints, and cooks.

 

Some of Shen’s experiences include being co-curator of the “2019 Green Island Human Rights Arts Festival”; Visual Art Program Director of the “2018 Nuit Blanche Taipei”; and Co-Curator for the Paris stop of “Serendipity: Contemporary Jewellery Exhibition” in 2017. She also presented her creative project “Je suis ici Je suis la” in “Design X Ateliers in France 2017”. The project includes drawings of Shen’s past self and the small towns in Southern France that she has always been quite fond of. Pierre-Auguste Renoir, Raymond Peynet, Marc Chagall, and Pablo Picasso, whom had all left their imprints in the South of France, also appear in Shen’s drawings, as a way of collectively showing the notion of “Je suis ici Je suis la” (I am here, I am there). The Common Wealth Magazine also did an exclusive interview with Shen featuring this project.

 

From the end of 2016 to January 2018, Shen collaborated with metal-weaving artist Huang Yu-Chih on a site-specific artwork for a client in Shenzhen, China. The artwork, “Rhythm of Ripples”, is over 10 meters wide, and is permanently installed in the lobby of One Shenzhen Bay (Phase 1) designed by Kohn Pedersen Fox Associates, an architecture firm known for ultra-tall buildings. In 2016, Shen worked as the chief organizer of the New Year’s project, “2016 Dreamers’ Check-in Station – NYE” created by artist Tsai Hairu and presented by the Taipei Fine Arts Museum. In the same year, Shen curated “Finding Myself: AAM Festival III” at the Art & Arch Museum in Taichung, Taiwan, which explored how messages are transmitted, and the correlative cosmology between words and images. In the summer of 2016, she proposed the following question to both artists and viewers: “Can foreigners use their outsider perspectives to see local sceneries that the local people have neglected to see?” The exhibition “Local Enough?” presented in Barry Room , Taipei Artist Village explored how “our localness” is reflected through several pairs of eyes of “non-local others” and examined if such endeavor could lead to mutual connections between them and us. It also explored if the locals could be prompted to further reconsider our constantly shifting “local culture” and for new, broader horizons to be seen through a compound perspective.​