The performance video The White Cow is adapted from Ovid’s “Metamorphoses”. With his spatial imagination, organization and construction, Ovid starts a spiritual journey in Chen’s mind like linguistic magic. “Changed into a white cow”, the artist tries to explore the spatial forms of “transformation”, and by putting them in the long-term framework of his creation, like day-to-day life, physical vessel, animality and so on, his works present the pattern of classic romantic poetic drama and identify plain naturalism as key theme.   

The sound installation Fruit Gathering that rings in the outer room of FU|KAN is an unexpected picking experience by the artist in his hometown, it shows the links between actions and day-to-day life. Nevertheless, his “human-ceramic relationship” theme continues in the ceramic sculpture murmur. The shapes of the vessels in this exhibition are an echo of his contemplation when creating “16 Vessels” last year. The process from a body to the fired porcelain is also the process in which life is tempered and forged. The spindle-shaped vessel cannot stand unaided, and a person is needed to support or hold it, and resonate with it so that its warmth is retained. The five vessels correspond to the five performers in the video The White Cow, reaffirming the correlation between humans and vessels. Yet, “murmur,” that rustling, prolonged mutter resounds in FU|KAN through the resonance of the vessels. 

In the city-states of ancient Greece, theaters were situated on hillside, generating natural acoustics. The order of the classical society is established on bare life. When words speak out logos, between the physicality and materiality of language -- Mame, the medium of the shaman, performs religious rituals by way of domestic spaces. The three artworks enter the historical time and space and intone polyphonic structure. The fate, or prophecy, has been presented early on amid the symposium of vermouth and between the ravings of life.

在这次的创作中，陈伟围绕神话展开叙事，透过声音，追寻物体的本源。犹如诗人，最初是听见了声音（一种内在召唤），爆破出语言，进而，脚踏出诗韵。展览由三部分作品构成：声音装置“采野果”；行为影像：“白色的牛”；以及陶瓷雕塑“murmur/低沉连续的声音”。

行为影像作品“白色的牛”，改编于奥维德的《变形记》。作者对于空间的想象能力、组织和建构能力，如同语言幻术般，在艺术家心中开启一段巡游之旅。“变成了一只白色的牛”，艺术家试图探索“变形”在空间中的形态，并将其构置于长期的创作架构中：洞穴日常、身体器皿、动物性等等，使作品既呈现出古典浪漫主义的诗剧形态，又还原其朴素的自然主义内核。

萦绕在复刊外室的声音作品“采野果”，是艺术家在家乡的一段意外采摘，它呈现出行为与日常的关联。而陶瓷作品“murmur/低沉连续的声音”，则秉承他一贯的创作母题，即“人与陶瓷的关系”。本次展览所呈现的器皿造型，延续了去年的创作《十六个器皿》的思考。从一个胚胎，到烧瓷成器，是生命被锤炼和锻造的历程。纺锤状的器皿无法独立站立，需要人去支撑或环抱，与之共鸣，它的温度才得以延展。五个器皿对应着“白色的牛”影像作品中的五位表演者，再次呼应着人与器皿的关联。而“murmur”那细碎的，绵长的，喃喃自语的嗡嗡作响，借由器皿的共鸣，在复·刊发出回响。