NO.202, 2nd Floor, Sea World Culture & Arts Center, Shenzhen
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万一空间荣幸呈现艺术家陈高杰自2019年以来的首次个展「我咬着火星」（I Bite a Spark）。此次展览汇集了艺术家近一年来的全新创作，他以诙谐而超然的态度观察并重述了自己对东西方哲学与宗教的思考，同时以文化杂糅的视角观照宗教譬喻、历史符号与流行文化。陈高杰始终在精神世界中游荡，在看似对立的混沌与秩序之间寻找相对的平衡——在感性的想象里依持理性的构造，创造着一个时间与空间似乎永恒循环交织的场域。潮动 The Moving Tides
陈高杰 Chen Gaojie
布面油画 Oil on canvas
40 x 50 cm
2025
“我咬着火星，
牙齿噼里啪啦，
犁过干涸的花瓣。”
“火星”（或“火花”）是在燃烧、剧烈摩擦时迸发出的微小光点。它们从隐匿处浮现，极高的温度与动能使火星迸发瞬间出现于观者眼前，然后须臾间向更广阔的空间散射。在此，它象征着从强大能量中攫取灵感的迸发时刻，而“咬合”这一动作本身——既是生物的本能，也是物与物之间的对撞。坚硬的牙齿与干涸的花瓣，柔软的唇与炽热的火星，这些在现实生活中毫不相干的物质，经由诗歌的组合构成了一种荒诞又和谐的对立关系。“我咬着火星”亦隐喻着艺术家的创作状态：“我”是隐匿的主体，而探索作品则是这股精神能量的具象化路径。
个人项目“坚白”部分作品 Selected works from solo project Solid White2024
过去一年，陈高杰以“黑”与“白”为出发点展开创作。在2024年开启的新系列中，他以白色瓷砖为主体构建局部空间，并融合了具有中国美学特征的霁蓝、朱红等颇具宫廷指向的色彩。同时，他将通用的社会性符号，例如交通标识，以其高饱和色彩和极简几何形态的特点融入画面，使这些在生活中惯常带有规训含义的符号出现在荒诞的构想世界中，在此重新审视规范的逻辑框架与社会秩序。界内摇摆（细节） Swing within the Range (detail）
陈高杰 Chen Gaojie
布面油画 Oil on canvas
2024
这种对符号的探索，可以追溯到艺术家对《易经》中卦象符号与表意指向的研究。易经中“刚柔相摩，八卦相荡”，所以现象不一，变化横生。陈高杰在作品中沿用“泽风大过卦”、“风火家人卦”等卦象，以单一卦象配合整体场景，成“象”的形式出现。从图像学的角度看，他所运用的交通标识、卦象、喜轿等等符号不仅仅是几何形式上的再现，更是隐喻性的、与文化脉络相关联的再生——它们挑战了观者的视觉经验，在画面中被打破、重组、再塑造，最终形成一个动态平衡的系统，构筑出一个在有序与无序之间微妙平衡的世界。
（左）口上 (left) Above the Mouth
（右）眼下 (right) Under the Eye
陈高杰 Chen Gaojie
布面油画 Oil on canvas
40 x 30 cm
今年，他进一步探索黑色空间的可能性，以“画中画”的限定结构绘制画中黑框。例如，作为2024年艺术深圳个人项目「坚白」的延续，福建的“顺昌轿子”与象征宗教和时间的老钟表结合，构成一座另类的房屋。它被置于极简的黑色背景下，以克制严谨的建筑结构线搭建文化物件的全新秩序。最新的《口上》和《眼下》居于圣坛之上，周围的拱形结构强化了宗教氛围，而极度高饱和的黄蓝色彩碰撞则产生了强烈张力，同时消解了礼拜祷告的严肃性，将色彩的隐喻与指涉推至另一层面，带来一丝玩味的思考。其中，《口上》中的嘴巴指向了文艺复兴时期贝尼尼（Gian Lorenzo Bernini, 1598-1680）的雕塑《特蕾莎的狂喜》（Ecstasy of Saint Teresa, 1647-1652），以感官体验承载宗教性的神圣意涵；《眼下》中的鸡蛋同样也是贯穿于艺术史中的重要象征，它代表孵化中的生活，正在被低垂的佛眼观照；《潮动》以四方体呈现了一个新式圣坛空间，在静止与流动间交错，本应漂浮于水面的小黄鸭被置于静止的展台之上，而背景的钱塘江潮水翻腾汹涌，让人不禁遐想究竟何处才是真实。在交界地相聚 Gather in the Lands Between
陈高杰 Chen Gaojie
布面油画 Oil on canvas
80 x 120 cm
2025
在回溯艺术家早期作品时，他也常以个人化视角赋予其新的维度。《在交界地相聚》以路马头小学为原型，艺术家再次建造了一个永恒的、混乱的精神乐园。《乌鲲轮》则是陈高杰融合东西方母系氏族文化与繁衍意向象征后塑造的阴性形象。鲲的柔软与环形螺旋结构暗示自然的循环与永恒，并结合基督教手势与印度神话中的“轮王”概念，意指包容与自我更新。其分离形态《元胎》《能胎》《识胎》则进一步探讨生命的变化与延续，呈现非线性时间观念，即生长并非线性演变，而是过去、当下与未来相互交织渗透的过程。正如《道德经》所言：“万物负阴而抱阳，冲气以为和。”古希腊哲学家赫拉克利特则以“火”为本原，称“过去、现在和未来永远是一团火，在一定分寸上燃烧，在一定分寸上熄灭。”万物因阴阳对立而生，于调和相济中和合。火的燃烧与熄灭，恰如阴阳消长。万物于生灭循环的永恒流转中，始终遵循对立与平衡的自然法则。
乌鲲轮 Unkulun
陈高杰 Chen Gaojie
布面油画 Oil on canvas
100 x 75 cm
陈高杰的创作始终在对立中寻求平衡——黑白相生、悲喜交替、荒诞与秩序并存，皆成为生命力的展现。他曾说，“我想画的是生命的意志，不关乎善恶和伦理，也不在乎世界的规矩——但我不觉得他们是邪恶的。”在白色瓷砖和黑色画框的界定下，观众被引导步入艺术家刻意营造的戏剧化叙事。而在戏剧化的表象背后，隐藏着他非线性的文字与演绎脉络，指向更为复杂的思辨体系。我们作为共同的建构者与解谜者，共同受邀阅览这些陌生且熟悉的符号、隐喻、色彩、图案，并将带着自身的经验、记忆、文化背景，与陈高杰的思考交汇摩擦，碰撞迸发出新的火星。
海报设计：
who kills typography
I Bite a Spark
Chen Gaojie
W.ONESPACE is honored to present I Bite a Spark, the brand new solo exhibition of artist Chen Gaojie since 2019. The exhibition brings together the artist’s latest works from the past year, in which he observes and reinterprets his reflections on Eastern and Western philosophy and religion with a humorous yet transcendent approach. Viewing religious metaphors, historical symbols, and popular culture through a lens of cultural hybridity, Chen Gaojie continuously wanders within the spiritual realm, seeking a relative balance amidst the chaotic yet genuine dualities of existence, where rational structures are upheld within sensual imagination, creating a space where time and space seem to intertwine endlessly.
The title of the exhibition, I Bite a Spark, is derived from a line in Chen Gaojie’s poetry:
"I Bite a Spark,
teeth crackling,
plowing through withered petals."The term “Spark” refers to tiny bursts of light produced by combustion or intense friction. Emerging from concealment, their extreme heat and kinetic energy causing the sparksto flare up in front of us, only to disperse into a vast space within moments. Here, “spark” symbolizes the fleeting moments of inspiration drawn from immense energy, while the act of “biting” itself—both a biological instinct and a collision between objects—embodies a dynamic force of encounter. Hard teeth against withered petals, soft lips against blazing sparks—these seemingly unrelated materials, when intertwined through poetry, form an absurd yet harmonious duality. “I Bite a Spark” also serves as a metaphor for the artist’s creative state: the “I” represents a hidden subjectivity, while the exploration of artworks becomes the tangible manifestation of this spiritual energy.In the past year, Chen Gaojie’s production began with the exploration of "black" and "white." In his new series launched in 2024, he constructs partial spaces using white ceramic tiles as the primary medium, incorporating colors with distinct Chinese aesthetic characteristics, such as glazedblue and vermilion, which evoke a sense of imperial grandeur. In parallel, he integrates universal societal symbols, such as traffic signs, into his work, using their high-saturation colors and minimalist geometric forms. These symbols, which often carry disciplinary connotations in everyday life, are placed within an absurd conceptual world, allowing for a re-examination of the logical frameworks and social order behind these norms. This exploration of symbols can be traced back to the artist's study of the hexagrams and their symbolic meanings in the I Ching (Book of Changes). The I Ching writes, “The strong and the weak interact, the eight trigrams stir and clash,” leading to diverse phenomena and continuous transformation. In his works, Chen Gaojie employs hexagrams such as “Zefeng (Great Exceeding)” and “Fenghuo (Dwelling People)”, using individual hexagram in combination with the overall scene, forming a visual representation of "Xiang (symbols)". From an iconographic perspective, the traffic signs, hexagrams, wedding sedan, and other objects he use are not merely geometric reproductions, but metaphorical, culturally rooted regenerations. These symbols challenge the viewer’s visual experience, being broken, reassembled, and then reshaped within the artworks. Ultimately, they form a dynamic and balanced system, creating a world that subtly balances between order and chaos.This year, Chen Gaojie further explores the possibilities of “black” in space, employing a “painting within a painting” structure to depict black frames within his works. For instance, as a continuation of his 2024 solo project at Art Shenzhen, Solid White, he combines Fujian’s Shunchang Sedan Chair with old clocks—emblems of religion and time—to construct an alternative form of architecture. Set against a minimalist black background, the restrained and precise architectural lines establish a new order for this cultural artifact. His latest works, Above the Mouth and Under the Eye, are positioned atop an altar, with surrounding arched structures reinforcing a religious atmosphere. The collision of intensely saturated yellow and blue creates strong visual tension, subverting the solemnity of worship and prayer while pushing the metaphorical and symbolic nature of color to another level—inviting a touch of playful reflection. In Above the Mouth, the depiction of a mouth alludes to Gian Lorenzo Bernini(1598-1680)’s Ecstasy of Saint Teresa(1647–1652), where sensory experience embodies the sacred meaning of religious devotion. The egg in Beneath the Eye is also a significant symbol throughout art history, representing life in the process of incubation, watched over by the solemn gaze of a lowered Buddha’s eye. Meanwhile, The Moving Tide presents a new form of altar space in the shape of a cube, oscillating between stillness and movement. A small yellow rubber duck, which should ideally float on water, is instead placed motionless on a display platform, while the background depicts the turbulent, surging tides of the Qiantang River, which prompts contemplation of what, after all, is truly real?When revisiting the artist’s early works, he often reinterprets them through a personal lens, endowing them with new dimensions. Gathering in the Lands Between is inspired by Lu Ma Tou Primary School, where the artist reconstructs an eternal yet chaotic spiritual playground. Unkulun embodies a feminine figure shaped by Chen Gaojie’s fusion of matriarchal cultures from both Eastern and Western traditions, along with symbols of fertility. The softness of the Kun and its circular, spiral structure suggest the cycles and eternity of nature, and integrates Christian hand gestures with the Hindu concept of the “Chakravartin,” symbolizing inclusivity and self-renewal. Its fragmented manifestations, The Original Fetus, The Capable Fetus, and The Conscious Fetus further explore the transformation and continuation of life, presenting a nonlinear concept of time, where growth is not a linear progression but an interwoven process of past, present, and future. As stated in the Tao Te Ching: “The created universe carries the yin at its back and the yang in front; Through the union of the pervading principles it reaches harmony.” Similarly, the ancient Greek philosopher Heraclitus regarded fire as the fundamental element, proclaiming, “This world always was, is, and will be, an ever-living Fire, with measures of it kindling, and measures going out.” All things arise from the opposition of yin and yang, finding unity through harmony and balance. The burning and extinguishing of fire mirror the cyclical ebb and flow of yin and yang. Within the eternal cycle of creation and dissolution, all existence follows the natural law of opposition and equilibrium.Chen Gaojie's work consistently seeks balance within opposites—black and white, sorrow and joy, absurdity and order—all becoming manifestations of vitality. He once stated,"What I want to paint is the will of life, unrelated to good or evil, ethics, or the rules of the world — I do not see them as malicious." Within the defined boundaries of white tiles and black frames, viewers are guided into the artist’s deliberately constructed theatrical narratives. Yet, behind the theatrical appearance lies his nonlinear textual and interpretive structures, pointing towards a more intricate system of philosophical reflection. As both co-creators and decipherers, we are invited to explore these unfamiliar yet recognizable symbols, metaphors, colors, and patterns. Carrying our own experiences, memories, and cultural backgrounds, we intersect and engage with Chen Gaojie’s works, sparking new insights through friction and collision.
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陈高杰（Chen Gaojie）1993年出生于福建顺昌，2015年毕业于中国美术学院油画系，现工作、生活于杭州。他的作品通过融合奇异形象与超现实意象，探讨现实与幻想之间的边界。这些画面往往呈现诡谲与异化的视觉效果，但背后隐藏的是他对童年记忆、山海经式神话想象与当下生活场景的重新构建。他的绘画受到波斯以及卧莫尔王朝细密画，中国叙事册页以及藏地唐卡等传统艺术的影响，融汇了耶罗尼米斯·博斯、彼得·勃鲁盖尔等超现实主义艺术家的“怪诞画”语言。他的创作建立在生活观察、文字与影像的阅读以及自由想象的基础之上。他对符号、造型与色彩的选择，一方面由个人经验和喜好驱动，另一方面又展现了历史文化传承的集体无意识、生活环境以及身体状况的潜在影响。在他的视角中，世界的每一面都处在一种有待被认知、探索的状态中，包括他对宗教信仰和神秘主义的态度。他将这些主题视为一种持续进行、永不停止的艺术创造，是人类不可或缺的生存实践。尽管无法从真理层面完全信仰它们，但作为现实的一部分，这些观念已深深融入他的创作之中，使其作品成为现实与想象交织的深刻表达。Chen Gaojie was born in 1993 in Fujian Shunchang and received his bachelor's degree in oil painting from the China Academy of Art in 2015. He currently lives and works in Hangzhou. His work through the fusion of bizarre images and surreal imagery. Exploring the boundary between reality and fantasy. The images he creates may appear eerie and alienated, but they actually represent the artist's imaginative reflection of childhood experiences, reminiscent of works like "The Classic of Mountains and Seas," and the variations of present life scenes. He finds inspiration from Persian and Ottoman miniature art, as well as Chinese narrative handscrolls and Tibetan thangka paintings. Additionally, his art is also influenced by the grotesque works of artists such as Hieronymus Bosch, Pieter Bruegel, and Francis Bacon.In his works, Chen Gaojie sets the stage through careful observation of life, literary works, visual imagery, and free imagination. The selection of specific elements or symbols, the use of particular shapes and colors, is determined by the artist's personal experiences and preferences, while also presenting the collective unconsciousness of historical and cultural heritage, the living environment, and even physical condition. The artist acknowledges all aspects of the world in a state of recognition, including his attitude towards religious beliefs and mysticism, which he view as a continuous and never-ending artistic creation—a necessary pursuit for human survival. Although the artist may not be convinced of the truth on a fundamental level, they consider religious beliefs and mysticism to be inextricably linked to their existence as a part of reality.
艺术家相关阅读：
万一对话｜陈高杰：我是一个旁观者，但并非完全抽离于这个世界
展览预告｜金色狮子 Scène Noire
展览手札｜金色狮子与黑色舞台（Scène Noire）
展览现场｜金色狮子 Scène Noire：陈高杰 & 特奥多拉·阿克森特双个展
艺术家访谈 | 两位“理性”的“玄学”家——陈高杰&石冰
OPENING CEREMONY
2025年03月23日 星期日
PUBLIC DAYS
2025年03月24日 - 2025年03月30日 周一至周日
Sea World Culture & Arts Center, No. 1187 Wanghai Road, Shenzhen
万一空间即将参展2025年深圳艺术周的展览单元。展览单元聚焦本地艺术机构的独特声音与创造力。通过高质量的策展，为公众带来更丰富的展览内容和更高水平的艺术呈现。
今年，深圳艺术周将以更开放的姿态，联动深圳各区域的60余家参与机构，涵盖美术馆、画廊、综合艺术机构及艺术家工作室等，共同呈现一系列前沿且多样的展览、沙龙及艺术活动。
值得关注的是，首届艺术周的参与机构悉数回归，今年同时迎来20余家机构的新加入。与首届相比，机构规模从40余家扩展至60余家，既印证了深圳艺术生态的持续和韧性，更彰显机构与艺术周之间的深度信任与价值共鸣。我们始终秉持共生理念，致力于将艺术周打造为和机构共同成长的开放平台——在这里，新老机构以展览为媒介、以对话为纽带，像根系一样扎根在地的土壤，并通过不断拓展，向湾区乃至更广阔的脉络生长。
2024深圳艺术周回顾
正在展出
往期展览
万一空间是由三位90后艺术从业者在深圳创立的艺术空间。其诞生于疫情席卷全球的2020年，在后疫情时代涌现对艺术与生命的全新思考。空间致力于消解当代与古代的边界，融合美学研究逻辑下的现当代与古代艺术，构建一个不同国家、时期和形式的艺术在同一语境下共容的场域。万一空间现已获权代理德国艺术家弗里德里希?埃因霍夫（Friedrich Einhoff），以及意大利艺术家罗伯特?博西西奥（Robert Bosisio）。同时，画廊与阿克塞尔?卡塞勃姆（Axel Kasseb?hmer）、八木良太（Lyota Yagi）、陈高杰、马宏法、埃里克?扎特奎斯特（Eric Zetterquist）、特奥多拉?阿克森特（Teodora Axente）、瓦西姆?艾哈迈德（Waseem Ahmed）等多位艺术家，保持着持久且深入的合作关系。在维系与既有艺术家及相关艺术遗产的紧密联系之余，画廊亦致力扶持新兴当代艺术家的职业路径。通过展览项目和艺术出版，旨在长期支持与推广代理和深度合作艺术家。W.ONESPACE is an art gallery founded in Shenzhen by three Generation Y art practitioners. It was established in 2020 during the outbreak of the COVID-19 pandemic. New perspectives on art and life have emerged in this post-pandemic era. W.ONESPACE aims to melt the boundaries between present, future and the past by mixing contemporary and ancient art under the logic of aesthetic research, thus bringing together arts of different countries, different periods and different forms to interact and express in unity as ONE.W.ONESPACE is pleased to announce its representation of German artist Friedrich Einhoff and Italian artist Robert Bosisio. Additionally, the gallery maintains enduring and in-depth collaborations with a roster of distinguished artists, including Axel Kasseb?hmer, Lyota Yagi, Chen Gaojie, Ma Hongfa, Eric Zetterquist, Teodora Axente, and Waseem Ahmed. While sustaining close ties with established artists and their artistic legacies, the gallery is also committed to nurturing the career trajectories of emerging contemporary artists. Through exhibition projects and art publications, W.ONESPACE aims to provide long-term support and promotion for both represented and deeply collaborative artists.
万一空间平行时空分支????
weonspice为一个灵感、冲动和际遇碰撞交错的实验场，这里有灵机一动、不切实际或偶尔严肃的思考和行动。
#万一展览#万里不挑一#倪有鱼
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