Science and technology will develop with the development of the times, and the spirit behind it requires us to explore eternally. Under the impact of science and technology, I advocate that art return to the experience of daily life, create in the perceptual, visible and knowable, arouse the awareness of the ecological environment and humanistic perception, re-understand the aesthetic concepts of people in high-tech society, reveal the symbiotic way of man, society and nature in reconstruction, and pursue the torture of the soul in the afterglow of the real situation.
Chen Chunwang's graduation works are still continuing the confrontational and reshaping relationship between his previous sculptures and the body, embedding time and flesh into his works, and he tries to seek or understand the consciousness of "Da Vinci" and shape himself into a "god". In my opinion, Chun Wang is reshaping the consciousness of consciousness, and the formation of a work takes a long time, and the work not only describes itself, but also narrates the mental interaction with the artist. It is precisely this prolonged contest that makes it possible for the "flesh" to approach the "Tao." "Flesh" and "Tao" are two poles that are opposites but can be reached interchangeably through certain processes and media. "Flesh" as the name suggests is the flesh, the body. Regarding the "Tao" is the ultimate meaning that is mysterious and large, and cannot be described in words, from the "Tao Te Ching", it is the source of all things in the world, the Tao gives birth to all things, when the flesh is cultivated through a certain degree of autonomy, it will make the flesh develop and then realize the meaning of the "Tao", thus breaking away from the mortal birth of the flesh, in the same way, the "Tao" can also be transformed into the flesh in a certain way to realize the hundred states of life.
Three-sided King Kong, for the shaping of the flesh, Chun Wang will be his own learning in the department of sculpture, through countless times of wood carving knife on the wood repeated knocking and tearing way, the flesh and the sculpture material confrontation, consciousness and material dialogue, in the wood is carved surface literacy under the presentation of the appearance of their own consciousness consciously presented - the "god's" flesh can be shaped and presented. Heidegger found in his works of art the "Tao" of the material nature of things, a kind of aggregation of the conscious consciousness of things as both instruments, and exists as the materialization of imagery. The various "magic weapons" in the hand become the outlet of personal will, and the will of "God" is ignited into a materialized existence, and the existence of the totem of the surrounding dynamic devices, like a devout believer, is surrounded by "God", and this form of willization and objectification just gives its reason for existence.
In Chun Wang's works, decaying wood is used and a large number of mechanical devices are used to present their own understanding of the "Tao", and the wood tells the time and emotion, and the works are either in place, or pushed back and forth, or waiting to be awakened, playing their own charm. The monotonous decay, the monotonous metallic color, the monotonous and infinitely repetitive action presentation, the metal accompaniment that strikes out, are so moving and harsh, why is this not the daily presentation of society? Baiwei life, or dislocation, or prosperity, or decline...
It is precisely because of the condensation of information and emotions in daily life that various connections have been produced with people and are closely related to life. The "Tao" is in this combination and confrontation between the artist and the material, the coexistence and the bridge, giving each other a full expression, only in this way can the "thing" be given a sense of life and a sense of soul and ritual.
——Wang Kai (Young Curator)
