Chen Wenbo’s painting practice involves a self-sufficient visual activity, the viewing devoid of the object and subject, in which neither the will to truth nor the aesthetic determination can be found — the sense of the visual becomes the content of viewing. Therefore, Chen Wenbo’s paintings do not represent any external reality or internal emotions, but an abio-view, a blind yet dazzling visuality.

This suggests that Chen Wenbo’s work has become part of the society of the spectacle. His creation also gives prominence to the visual symptom as manifested in the present culture, as well as a vacillating sense of the visual free of will. As far as the artist is concerned, the gesture of representing and reinforcing this kind of visual symptom denotes a sophisticated stance of critique, which is to provoke a reflexive thinking over the established concept of “Subject” through revealing the absence of the subject.