　　陈子丰早年接受了中国传统绘画的系统训练，他拥有娴熟的技巧与表达。多重情绪与创作动机在实践中不断沉淀和累积，一直增加着画中形象的重量感，仿佛压得那阁楼吱吱作响，被压抑的对话骚动了起来。人既非生而自由,生存也非绝对自由，在历史无法为前进提供帮助之时，当代人又选择性地忘却了前人的种种“遗迹”，我们是否还拥有着可被追溯的根源呢?面对着这些建筑于空洞的、易坍塌的地基之上的房屋，陈子丰一直在沉默地修补，在他自己的空中阁楼里天真并勇敢地坚守着一种文化的自信与重塑。

　　艺术家所创造的巨人形象并非为讨好而存在，它们好似携带着被压抑的欲望出生，成长为一种 “扭曲”的有机结构。暧昧丰满的肉体、板滞的眼神和赛博的色彩背后是那些在暗处的膨胀与不安。这些张力并非仅存于画面之中，而其恰恰如同一面镜子，映射出夹在中国传统观念与现代文明之中的中国人的内心世界。

　　巨人们不会永远蜷缩于阁楼之上，因其对于整个房屋隐秘的威胁，他们会试图诱惑我们进入阁楼内。在我们和这些巨人们面对面时，我们的躯体缓缓的舒展开来……

The Giant in the Attic

Chen Zifeng’s works have a tem-pera-ment that makes peo-ple feel ner-vous. It is as if we were glanc-ing at a giant hid-ing in the attic, fac-ing away from us, doing things we could not know or under-stand. We will have a hint of curios-i-ty and fear, but then turn around and leave. The attic is such an exis-tence. It is dark, crowd-ed, always ignored and for-got-ten, and peo-ple see it as if it is not relat-ed to their own world. Thus, the thin par-ti-tion on the top floor of the house becomes a big box for stor-ing secret traces.

Chen Zifeng, who has acquired tra-di-tion-al Chi-nese paint-ing the-o-ry and tech-ni-cal train-ing, lives in a house and its attic at the same time. When the giants liv-ing in the attic were con-stant-ly con-densed in the images cre-at-ed by the artist, the accu-mu-lat-ed weight of mul-ti-ple emo-tions and desires made the attic squeaky, and the sup-pressed dia-logue agi-tat-ed. Man is nei-ther born free nor has absolute free-dom. On the artis-tic lev-el, what Chen Zifeng wants to fight against and break through is not only the con-straints of Chi-nese paint-ing tech-niques and forms, but also the unre-solved con-tra-dic-tions of tra-di-tion-al art in the con-tem-po-rary era. Due to the rapid trans-for-ma-tion and devel-op-ment of eco-nom-ic mod-els in Chi-na, there is abyss between tra-di-tion-al Chi-nese cul-ture and con-tem-po-rary soci-ety. Tra-di-tion-al art is stuck in fun-da-men-tal-ism and is out of step with con-tem-po-rary civil-i-sa-tion. Its core has long been com-pressed by the so-called “advanced civil-i-sa-tion” into a mocked schema. When his-to-ry is unable to help advance, con-tem-po-rary peo-ple selec-tive-ly for-get the “remains”, as if we no longer have trace-able roots. Faced with these hous-es built on an unsta-ble, eas-i-ly col-lapsed, and hol-low foun-da-tion, Chen Zifeng has been mak-ing silent protests, naive-ly insist-ing on the cre-ation of a cul-ture in his own attic.

The giants’ images cre-at-ed by the artist do not exist to please, they are twist-ed and per-vert-ed organ-ic struc-tures born with sup-pressed desires. Behind the vague and plump body, the slug-gish eyes and the cyber colour is the uneasi-ness that swells in the dark. This uneasi-ness is not only in the pic-ture, but it is just like a mir-ror, reflect-ing the con-tra-dic-to-ry minds of con-tem-po-rary peo-ple liv-ing in the tra-di-tion-al con-cept and the cur-rent soci-ety.

Giants will not hud-dle in the attic eter-nal-ly, and because of their hid-den threat to the entire house, it will tempt us to enter the attic; when we are fac-ing the giants, our bod-ies grad-u-al-ly unfold-ed.

近墨者黑陈子丰 2020 综合材料 31x31cm

千里江山2 陈子丰 2019 纸本综合材料 240x166cm

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