Most of the artworks in this exhibition are created on silk, but Detached, I Read a Poem is painted on Jinjian (金笺, or gold paper), a medium unique of traditional Chinese painting dating back to the Tang dynasty. Silk, with its permeability, allows for seamless blending and layered colors, while Jinjian is crafted by applying fine gold or silver powder or foil to Xuan paper with adhesive, giving it a luminous, textured quality. In Chen’s Detached, I Read a Poem, the interplay of green and gold evokes the confluence of fresh and seawater at a river’s mouth. This imagery sprang from a serendipitous moment: after rinsing a brush, gold powder floated on the water's surface, forming a delicate film. When the brush touched the water again, the film dispersed, creating fluid, organic patterns. This flowing movement also mirrors the resonance of sound, as sound waves expand and ripple through space.

From the microcosmic act of rinsing a brush to the vastness of natural phenomena and the diffusion of sound, this work reflects the metaphysicality of artistic experience. The title of the artworks in the exhibition draw from the Tang dynasty ars poetica Shipin (Twenty-Four Styles of Poetry), a treatise that categorizes and illuminates the beauty of classical Chinese poetry. In Shipin, the section on “Detached, I Read a Poem” describes the transcendent experience of reading a poem: “Recite and contemplate, and its voice becomes ever fainter.” Chen’s Detached, I Read a Poem captures this fading resonance, blending the visual and the poetic into a unified artistic expression.

《超诣》

本次展览中的大部分作品皆是绢本，而《超诣》以金笺为媒介，这也是FQM艺术空间首次展出金笺画作品。绢本与金笺同为中国传统绘画的特有形式，绢易渗透，因此更易晕染也更宜叠加颜色层次。而金笺介始兴于唐朝，在宣纸的制造过程中在表面用胶粉施以细金银粉或金银箔。在陈督兮的《超诣》中，金色与绿色相融合仿佛入海口淡水与海水会和。这一景象取材于一次偶然契机：艺术家在洗笔后，笔上的金粉漂浮于水面形成一层薄膜，将笔再次轻轻沾入水面，薄膜则被推开，形成流动的肌理。这种水的流动又与声音的回荡相似：声音的扩散也是一种空间上的状态。从洗笔时的微观瞬间，到宏观的地理现象，再到声音的传播，这件作品确实正如《二十四诗品》所说，“诵之思之，其声愈希”，从绘画映照各种体验。