Overview

For Chen Wenbo daytime equates to feelings of ennui, of not being free and of spiritual blockage. Only at night is there limitless vitality. Lamplight can natural focus the gaze on a particular thing or scene and the city under the cloak of night itself resembles some giant installation. All of Chen Wenbo's 'setting paintings' can be seen as sections of this super-sized ready-made object set out in ranked order. His theme seems to run horizontally rather progressing deeper in a linear fashion. Such an attitude to painting implies a kind of decisiveness, a decisiveness that only a somewhat gloomy existentialist hero could be so firm in. Starting from a given point in time, someone decided to stop 'living' and become a spectre, a spectre adrift in the night taking candid photographs - 'undercover', as Chen Wenbo put it. Dead by daylight, alive under lamplight; it is an experience that has been shared by several past generations and still is so today - daylight: the place to grow up in, an all-encompassing care; lamplight: whispered small joys, low-level freedom, fragmentary feelings sent as under by the impact of propaganda.

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