陈卉：一种韧性和刺

王春辰

陈卉的绘画及艺术是另一种现实。它不需要灿烂的辞藻修饰，它只需要心智感应者静默旁观。人之在世，面对诸多现实界，现世与来世，俗世与灵界，可知与未知，幼年与暮年，哲学与信念，艺术与科学，等等，而走向它们，则有很多通道，道道不同，路路皆通。当“变成仙人掌”成为一句偈语时，仿佛现实界的芝麻法门疏忽敞开。当陈卉以其绘画及艺术形式来呈现这一偈语时，天门洞开。

绘画及艺术何以可开启天门？这是一道回答无尽的人生题目，而于陈卉的绘画，则是又一番解读。关于绘画，古往今来，言说叠出，议论纷纷；到了当下，几乎让人无所适从。何以故？就是当代现实非任何时代可比，资讯之多、传媒之泛、传播之快，都营造了一个无比杂多与矛盾的世界图景，任何人对现实世界的把握都变成一个可能与不可能之间的漂浮状态。人的感知系统断然坍塌。

陈卉从事绘画凡三十余年，可以说，关于绘画的诸多话题与历史及语言都不在话下，但她心系之念之的，是让自己对现实界的感知与感念能通过自己的绘画表现出来，任是春风秋风都无法遏制以绘画抵达彼岸的象征界的真实。她以“变成仙人掌”来命名这次展览的作品即是展露出她近些年的沉淀与游走的心路，让绘画的形迹成为搏击现象界的利器，无论是记录一段特定时期的纽约见闻，还是周遭的风物人事，皆以画笔呈露，直击视觉而触及灵魂。

陈卉深知言无尽而画有余，当下世界凡所作画各尽其能，也各自抒怀表现，但也看它们是否契合天时地利，能否揭密灵魂世界。当你看到仙人掌，你看到了世界现实；当你看到了陈卉之画，便可心悟“变成仙人掌”，它多么富有艺术与人生的哲思。

2025年10月7日•北京

Preface

Chen Hui: A Kind of Resilience and a Thron

Wang Chunchen

Chen Hui's paintings and art represent another reality. They require no embellishment with brilliant rhetoric, only the silent observation of the perceptive observer. In this world, humans face numerous realities: this world and the afterlife, the secular world and the spiritual world, the knowable and the unknown, childhood and old age, philosophy and faith, art and science, and so on. To approach these realms, there are many paths, each different, yet all connected. When "becoming a cactus" becomes a catchphrase, it's as if the sesame door in the real world has been accidentally opened. When Chen Hui presents this catchphrase through her paintings and art, the gates of heaven open wide.

How can painting and art open the gates to heaven? This is a life-long question, and Chen Hui's paintings offer yet another interpretation. Throughout history, painting has been the subject of endless debate and discussion; yet, today, it can be almost impossible to know where to begin. Why? Contemporary reality is unlike any other. The sheer volume of information, the ubiquity of media, and the rapidity of its transmission have created an incredibly complex and contradictory worldview. Anyone's grasp of reality has become a state of flu