For Tang Ke, seasons do not end. The winter snow melts and breeds the bloom of spring, which flourishes in the summer, harvests in the fall, and withers, returns to the soil, and fertilizes the next spring. Time is thus a circle if you live with plants, which gives birth to Tang Ke’s winter melon. He plants in his garden, which allows him to get close enough to the plants, to not only be a painter who paints still life by staring at an object, but also be a farmer who lives with the object. A wintermelon, picked and placed on the table, is just one moment in the lifespan of the plant, yet for Tang, a fruit is not a stable object. It was grown from the last season, and destined to wither in the next. And when this melon is remediated into a portrait, the painting also follows such a lifespan: growing from a blank sheet of paper, and being exhibited and traded after it is done. The practice of life thus unfolds as recursive, and Tang’s melon becomes a site where time, nature, and destiny are meditated.

四季轮转不息。自然万物冬去春来，春华秋实，秋收冬藏。如果你与植物一同生活，你所理解的时间就可能是一个循环。唐可的冬瓜正来自这样的体悟。他在画室旁的园子里耕种，使自己无限贴近植物的生长过程。他于是不只是一个单纯以视觉理解万物的画家，还是一个与所画之物共同生活的农人。一颗冬瓜被摘下、放置在桌子上的状态，只是这棵植物生命中的一瞬。然而在唐可看来，水果并非静止不变之物。它自上一季生长而来，又注定在下一个季节枯萎。当这颗水果成为一幅静物画时，它开始提醒我们，绘画也遵循着相似的生长轨迹：一幅画从一张白纸生长而来，完成后便被采摘，并进入展览与流通的世界。生活总在回溯。在他的冬瓜创造的空间中，唐可将生活与时间、自然、宿命一同思考。