CHEN Wenqin

“All things are curving” is CHEN Wenqin’s artistic creation philosophy.

Chen Wenqin has always focused on the themes of space, time, and life. Modern cosmological theory posits that time does not exist in the universe; there is no time to speak of. This idea is reflected in the sculpture “All things are curving” (2009). Shaped like a standing egg, its stainless steel mirror surface reflects everything in the universe, embodying the boundlessness of the cosmos. Without a beginning or an end, without a starting point or an ending symbol, it exists perpetually in its own state, independent of time. Yet, it reveals that all things refracted are curved and that it occupies space in the present moment.

Where there is substance, there is space. When substance moves, time is the movement of substance and records the trajectory of its motion. Humans define space and time based on their movement. In the “Time Continues in the Space of Movement” (2010) series, Chen Wenqin named each sculpture with English gerunds to convey the eternal movement of substance. Time, in these works, records the infinite trajectory of spatial movement, and the sculptures represent a state of perpetual motion, transcending time and space.

Chinese Tai Chi reflects an infinite cycle of reincarnation from nothingness to existence and back again, resonating with Einstein’s theory that the speed of time varies in different places. Time is not orderly but can be distorted and disordered. This concept is explored in the “Distorting Time” (2023) series, where the twisting and flipping of planar forms create dynamic sculptural expressions. These works accumulate time within their forms, enveloping and sealing it, yet allowing it to flow through the cracks. Related works, such as the “Shape of Time” (2019) series and “Wrapping Time” (2022)series, further explore the structure and essence of time.

Time exists in events rather than objects, recording their development and changes. It is not merely a point or a line but can also be a surface. The movement of substance requires external forces, generating multidimensional events, while time records their trajectories. Aristotle described time as “a measure of change.” Flowing time is fragmented by events, which are interconnected through relationships of mutual distortion, dependence, and promotion. The “Superimposition of Time” (2024) series captures these relationships in sculptural form.

The repetitive nature of time’s movement is always positive, leading to “repetition and positive numbers” as key themes in the “Time Net” series and “Taste of Time” series of oil paintings (2018). Time is created by humans but also rules them. It weaves together events, bending, interweaving, stacking, and covering, demonstrating its functional structure. This is also evident in the “Horizon” series (2022).

Space arises from substance, time from space, and all things from time. Time bestows meaning upon everything. To record the movement of substance, humans invented time and clocks, tracking the Earth revolves around the Sun, and its own rotation, distinguishing the seasons, day and night, and life cycles such as the blooming and withering of flowers. Works like “Beautiful Evolution” (2008), “Complete Process” (2007), and “Introspection” (2021) illustrate the movement and survival of organisms and the profound significance of time for humanity. For each of us, time records every event and their interrelationships. The “Stories in Stories” (2015) series of oil paintings embodies this understanding, with curves representing the survival and life movement of beings. Similarly, the sculpture series “Communicating” (2021) and “Fusing” (2023) depict the interconnectedness of personal stories, blending cognitive, emotional, and attitudinal experiences.