Reflection and Intervention
反思与介入

Reflection and Intervention/ 反思与介入

Reflection and Intervention is not merely the title of this exhibition – it is a framework, a method, and an evolving state of practice for artist Chen Yong. Spanning lenticular painting, sculptural installation, and reflective object compositions, the exhibition situates Chen’s work at the intersection of personal affect and socio-cultural perception. These works invite viewers not only to reflect – on memory, space and emotion – but also to confront and momentarily intervene in their own habits of seeing and sensing.

At the core of Reflection and Intervention lies Chen’s insistence on artistic expression as a mode of critical consciousness. His works do not seek to represent the world in literal terms, but rather to reveal emotional intensities, perceptual ambiguities, and psychological disruptions that resist containment. By refusing the constraints of a fixed medium or stylistic category, each work articulates a singular, felt encounter with the world.

The Parallel Worlds Series – including Parallel Worlds #1 and The Place – epitomizes this practice. These immersive spatial interventions, composed of industrial and synthetic materials, unsettle the viewer’s orientation and perceptual anchoring. These are not environments that offer resolution or clarity, but instead act as thresholds – spaces that reflect the unspoken forces shaping both the individual psyche and the collective imaginary.

Dream (Roses in the Dark) extends Chen’s inquiry into lenticular surfaces that shift with the viewer’s movement, blurring the boundary between abstraction and recollection. These works, deeply tied to emotional perception, operate not as images to be interpreted, but as temporal experiences to be absorbed – inviting a kind of suspended cognition.

The exhibition also gathers a series of works developed during the COVID-19 pandemic – including No Light and Burns and Glows Blue. These pieces, never originally intended for public presentation, emerged as immediate responses to fear, uncertainty, and emotional fatigue. In Burns and Glows Blue, the bat functions as both cultural sign and spectral metaphor – a dual symbol of blessing and contamination. This gesture of reflective critique – positioned between private affect and global anxiety – is a central ethos of Reflection and Intervention.

The mirror-based installation series Memorial and A Moment of Joy furthers this duality. Reflective yet unstable, these works refract the viewer’s image into fragmented, shifting compositions. The material’s fragility is a metaphor for the instability of perception and identity, offering both a space of mourning and an aperture of self-recognition.

Additional works such as Fly, Bon Voyage, Nirvana, Dreamy Season, Red, and Venus function as poetic articulations of transformation, grief, hybridity, and ecological imagination. Portrait-based pieces like Give a Warm Name and The Mist explore psychological resilience and fragmentation in a time of prolonged social isolation.

The exhibition concludes with 2022, a work composed through improvisation and emotional flow. Like the title Reflection and Intervention itself, the painting offers no resolution – only space. It suspends meaning in favor of experience, inviting viewers to dwell in ambiguity, openness, and emotional resonance.

《反思与介入》不仅是展览的标题，更是艺术家陈勇持续实践中的一种方法论与精神状态。通过透镜光栅、空间装 置与镜面物件等多重形式，陈勇的作品构建出一种介于个体情绪与文化感知之间的临界结构。这些作品不仅邀请观众进 入一种“反思”的状态，也促使他们在观看的过程中完成对现实感知的一次次微妙“介入”。

《反思与介入》的核心，是艺术家对于“表达”作为一种批判意识形态的坚定立场。他的作品并不旨在具象化再现 现实，而是试图呈现那些无法被概念或形式轻易捕捉的情绪强度、知觉模糊性与心灵震荡。艺术家拒绝关于媒介与风格 的既定分类，相反，他让每件作品从自身情绪出发，以各自独立的逻辑与语法构建特定的观看经验。

在《平行世界》系列(包括《平行世界 #1》与《那里》)中，这种方法论得以具体体现。艺术家利用工业化的合 成材料构建沉浸式空间装置，破坏观者对空间与感知的原有依赖。这些非叙事性的结构并不提供明确意义的导向，而是 成为通向内在意识与集体想象之间的感知“临界带”。

《梦(黑暗中的玫瑰)》系列则将这种探索进一步推向二维空间，运用透镜光栅材料随着观者移动而呈现错视变化， 在抽象与记忆之间建立流动性。这些作品并非旨在被解读的图像，而是呼唤感知的时态经验，使观看者进入一种被延迟 的认知状态。

展览还包含艺术家在新冠疫情期间创作的一系列作品，如《无光》《燃烧发出蓝色的光》。这些作品最初并非为了展出， 而是艺术家在面对焦虑、孤立与情绪倦怠时的直接反应。在《燃烧发出蓝色的光》中，蝙蝠成为一种幽灵般的象征物— 在文化与病毒之间游移，寓意福祉与恐惧的双重属性。这种“反思— 介入”的行动既是艺术家的个人情绪实践，也是 他对全球危机语境的回应。

镜面装置系列《纪念碑》与《人们的欢愉》则深化了这种二元结构。作品利用可反射但易变形的塑料材料，将观者 的影像不断裂变，形成游移而破碎的自我图像。这种视觉与材料的不稳定性，成为一种关于感知、身份与记忆脆弱性的 有力隐喻，同时开启了悼念与自我凝视之间的情绪通道。

其他作品如《FLY》《一帆风顺》《涅槃》《多梦时节》《红》《维纳斯》在象征层面展开对情绪转变、悲伤、杂 合生长与生态想象的诗性表达;而肖像作品《取一个温暖的名字》《云雾》则聚焦社会隔离中的心理韧性与精神裂解。

展览最终以即兴创作的《2022》收尾，作品未设草图，以情绪流动建构画面。正如展览标题“反思与介入”所揭示 的，艺术家并不寻求答案，而是创造空间— 一个让观者驻足、沉浸、并在不确定与开放中重新建构自身经验的场域。