法国艺术评论家

　　陈逸鸣对海滨这个主题有着特殊的爱好。对他来说，一天当中不同时刻的光线是不可调和的丰富主题。在这个世界上他以画家的身份放任自己的才华横溢，透过他的画作便可见一斑。

　　没有什么比这种类型的绘画更接近现实。有时，虽然主题依然存在，但却有一种无关紧要的透明穿过画布的某些区域。总是如此亲密的陆地和海洋描绘出永不毁灭的密度。共鸣、呼吸和轻微的节奏变化总是海滨画布的标志。他们是静默的作品，有时，是明显的静止了的作品。“哦!时间，暂缓你的飞逝!”这似乎是所有想要在自己的作品中留下永恒瞬间的艺术家的信条。在绘画中成功展示日常生活的诗情画意不是件容易的工作。在地球上的实物与陈逸鸣的颜料之间产生了一种渗透性，纹理和密度达到完美的结合。这位来自上海的有着灿烂国际职业(包括在纽约著名的汉默画廊举行过几次画展)的画家千方百计用自己的敏感表达和刻画静谧的家庭生活、简单的日常举止、渔民的古老工作。

　　画作经常由一条直线分开的两面构成，就像是画家从一幅作品穿梭到另一幅作品的光标。这个分裂加强了作品的顺序。有时，画作中更多的空间贡献给了天空而不是大地。陈逸鸣通过这种方式使他的绘画达到和谐，在他的画作中充满了令人立刻安静下来的透明呼吸。这种作品的特色包括对绘画天生的理解力、对色彩的天生的敏感度和从后印象派到轻微抽搐的马奈的感触。画家将画笔与画布交织在一起，好像有辨不清的魔力在促使他的画布变得越来越饱和。光线是进行室外场景绘画不可分割的一部分。在陈逸鸣的绘画中，当画家提炼他的调色板，用微妙的、更离散的色调渲染一个更亲密、更有东方色彩的宇宙时，光线从单一的方向进入。

　　在外部场景中，画家对色彩的敏感度比对线条和形式的更显而易见。我们见证了一个名副其实的在形式和颜色之间来回穿梭的场景。形式的内容融合在恰到好处的、熠熠生辉的绘画技巧当中。不同的是，他的刻画让我们想起了伟大的肖像画家Edvard Munch的同胞Asta Norregaard。凭着这天赋，陈逸鸣用摄影师般的眼光在他的主题中找出了真正的美，但却从没有陷入无端的颂赞当中。Delacroix告诉我们：“真正的肖像是那些看起来像我们同时代的，我们喜欢在画布上找到他们，就像他们就在我们周围一样。”

　　这次展会展览的陈逸鸣创造作品的另一部分就是他的裸体画像，这充分证明了中国艺术家不仅仅是艺术家，更是创作家。在绘画历史中，女性裸体画是一个熟悉而又经常被重复的主题，对这些创作物完全的抛弃，模特将自己毫无拘束的完全投入才能创作出既不寻常而又令人印象深刻的画作;拥抱的陶醉浮动在身体之上。这对画家来说是一次冒险，因为粗俗离得不远，艺术家要巧妙地逃避这个陷阱并得到一些高尚的东西。

　　微光和身体旁边凿空的空间，光线弥漫着的薄薄的甜蜜强调了裸露着的身体的美好。描绘女性美丽的身体是他的专长。在他的画作中有很多奇迹。在不改变传统形式的前提下，一切都变得很迷人并达到一种挑衅的程度。这是一个艺术家的真正的杰作!我们可以看到陈逸鸣的作品反映了真实生活却又超越了真实生活，这些作品只可意会不可言传，在这些作品中艺术和真理找到了彼此，达到完美的结合。

　　Dr Henry Périer

　　Art Critic, French

　　Chen Yi Ming has a penchant for a particular subject matter: the beachfront. Studied in multiple lights at different moments of the day, it is, for Chen, an implacably rich theme. It has become for him the mirror on the world where he may give free rein to his considerable talent as a painter.

　　Nothing is closer to the real than this type of painting. At times, there is an almost immaterial transparency across certain areas of the canvas, though the subject matter remains ever present. The land and the sea, always so close, portray indestructible density. Vibrations, breath and subtle rhythmic variations always mark these beachfront canvases. They are works of silence and, sometimes, an evident stillness. “Oh! Time, suspend your flight!” seems to be the credo of the artist, who manages to fix moments of eternity in his works. To succeed in revealing the poetry of the everyday is no easy task in painting. A sort of osmosis is produced between the real substances of the earth and the pigments Chen employs, providing texture and density. The artist from Shanghai, who has a brilliant international career (including, notably, several exhibitions at the prestigious Hammer Gallery in New York), manages in these scenes to express with great sensitivity and poetry the serene familial life, simple daily gestures, the age-old work of the fishermen.

　　Frequently, the composition is comprised of two planes that divide the canvas by a line, a cursor that the artist transfers as he wishes from one work to another. This dichotomy imposes an order on the composition. At times, more space in the painting is devoted to the sky than the earth. In this way, Chen allows a pictorial harmony to rein supreme, imbuing his works with a luminous respiration through a style that is at once stable and timeless. The salient features of this work include an innate intelligence for painting, an intuition for colour and a touch that extends from post-impressionism to, at times, the lighter stroke of a Manet. The artist saturates his canvases with strokes of colour woven on to the space of the canvas as if by some unidentifiable magic. Light is often an integral part of the canvas in the outdoor scenes. In his portraits, light enters from one side, as the artist refine his colour palette and expresses himself in a subtler, more discrete tonality that renders a universe that is at once intimate and orientalist.

　　In the exterior scenes, the painter’s chromatic sensibility is evident, taking precedent over line and form. We witness at a veritable coming-and-going between form and colour. The content of the form dissolves in a plethora of sizeable and brightly coloured brushstrokes. Differently, his portraits remind us of Asta Norregaard, the great portraitist and compatriot of Edvard Munch. Endowed with a great gift, Chen seeks out the true beauty of his subjects with an almost photographic eye, yet never falling into gratuitous glorification. We are reminded of Delacroix: “True portraits are those that look like our contemporaries. We love to find them on the canvas looking as they do all around us.”

　　Chen’s nudes, another aspect of his creative work on view at this exhibition, demonstrate that the Chinese artist is as much designer as painter. A female nude is a familiar and often repeated subject in the history of art, yet what is both less common and certainly impressive, is the total abandon of these creatures, who offer themselves without restraint; the intoxication of the embrace floats above their bodies. It is a daring gamble for the painter because vulgarity is never far away and is a pitfall that must be avoided, something the artist achieves skillfully.

　　The glimmering and hollowed out space around the body, the pervading sweetness of the light emphasize this glorious corporeal nudity. Beautifully rendered female flesh is his speciality. Therein lies too the miracle of his painting. Without altering conventional forms, all becomes enchanting and attains in his work a certain level of provocation. An artist’s real tour de force ! We see that Chen’s work translates the real, and beyond that the signs of the real, which he finds to retain meaning in the appropriation characteristic of his particular typology; it is one that is more allusive than descriptive, fixed in this sublime fiction in which art and truth find themselves in one another…