塵三 Chen San, 桔築山色 Orange Landscape,油畫 Oil on canvas,65 x 53cm, 2016
「桔築山色-塵三個展」，藝術家塵三這次個展作品，光影的變化仍是最大的特色，色彩層層疊進、隨著日暮、清晨與時序的交替呈現豐富而細膩的表現，山色如攝影的長鏡頭拍景，構築成一個單純的畫面--充滿無限生機與溫柔的力量。
塵三 Chen San, 楚丘#1#2 Chu Hill #1#2 ,油畫 Oil on Canvas, 80x80 cm x2, 2016
塵三在山水的表現上：有的山秀美、充滿靈氣，有的山壯闊、曲水奔騰，有些山如人跡罕至的蠻荒之地，色彩詭譎、奇幻；山氣蒸嵐、雲霧飄渺繚繞山巒，色彩飽和、情感奔放自如創造出一種如幽的意境。不論是或寫或放，山水已於塵三心中了然於胸，大筆揮灑如懷素狂書般，有時又有出人意外的如極光出現時的萬丈光芒如「楚丘」與「格淋春」。塵三追求的不是寫實的具象描摹，而是一種敘述性的心境抒發，所以偶爾也會見到他不同題材的創作表現如人物或花卉。
塵三 Chen San, 格淋春 Gelin Spring ,油畫 Oil on Canvas, 80x116.5 cm, 2016
早年塵三的創作，作品呈現深厚的文人情思；水墨暈染與書法飛白的表現大幅出現於畫面中，漸漸地他開始跳脫傳統山水窠臼,而走向當代的藝術表現。師大美術系專任教授白適銘為著名藝術史學家兼藝評家，稱塵三的創作為「抽象詩性風景」--『猶如在他那充滿文學想像的標題中所呈現地，山巖谷間、雲影霞光或野瀑流泉，莫不自在變換、宛若化境，非人間所有。…「他那採自山水卷軸的構圖處理，成功捕捉古代文人畫般的清新飄逸、不拘常格的典雅氣質，透過半開放的自然空間，形塑山自開闔、雲自徘徊、水自流淌的無人荒野，傳達寫意攄情的隱逸志向，並成為一種重返自然秩序的自由風景象徵。」』
塵三 Chen San, 寒水 Frigid Water ,油畫 Oil on Canvas, 55x120 cm, 2016
塵三對於傳統文化的浸淫，不論老莊、孔孟思想及西方哲學都有極深的涉獵，並將所有的哲思內化於心，融入他的身心靈再表現於創作上，所以在畫面上我們可以看到中國的人文情懷又有西方的創新精神，在繪畫的表現性上他走在前端，勇於突破、表現他人所不敢為的精神與強韌的內在生命力量。
In this solo exhibition, the light and its changes still take an important position of Chen San’s works. Colors that build and layer upon one another, shifting richly and delicately with the turn of dusk, dawn, and the changing seasons. His mountain landscapes unfold like long-exposure photographs, constructing, from a single unadorned image, a world charged with infinite vitality and tender strength.
In Chen San's rendering of mountains and waters, some are graceful and luminous, spiritual; others are vast and sweeping, with winding rivers rushing through. Some evoke wilderness untouched by human presence, their colors strange and fantastical; mountain mist rises and clouds drift and coil around the peaks, saturated in color and unrestrained in feeling, conjuring a dreamlike, airy mood. The mountains and waters have long since settled within his heart, and he wields the brush with the sweeping freedom of cursive calligraphy, sometimes producing unexpected bursts of radiance, sometimes as if aurora breaking across the canvas, as seen in other works such as "Chu Hill (楚丘) " and "Gelin Spring (格淋春)." What Chen San pursues is not simply realistic, representational depiction, but rather a lyrical unburdening of inner feeling—which is why one occasionally glimpses, among his varied subjects, figures or flowers as well.
In his early work, Chen San's paintings carried the deep sentiment of the eastern literati tradition, with ink-wash bleeding and the flying white of calligraphic brushwork appearing prominently across the canvas. Gradually, he began to break free from the conventions of traditional landscape painting, moving instead toward contemporary artistic expression. Pai Shih-ming (白適銘), a professor at Dept. of Fine Arts of NTNU and a renowned art historian and critic, has described Chen San's work as "abstract poetic landscape"—"as if, within the literary imagination so vividly present in his titles, mountain ravines, cloud-lit peaks, and wild cascading springs shift and transform with ease, entering a realm beyond the human world... His compositions, drawn from the tradition of literati landscape scrolls, achieve a refreshing, unrestrained elegance that defies convention. Through a semi-open natural space, he shapes an uninhabited wilderness where mountains open and close, clouds wander at will, and water flows ceaselessly—conveying a reclusive aspiration toward lyrical expression, and becoming a symbol of free landscape that returns to nature's own order."
Chen San's immersion in traditional culture runs deep—he has studied extensively in Daoism and Confucian thought as well as Western philosophy, internalizing all of these ideas and channeling them, through body and spirit, back into his art. As a result, his paintings reveal both a Chinese humanistic sensibility and a Western spirit of innovation. In terms of painterly expression, he stands at the forefront, daring to break convention and to express what others dare not, embodying a spirit and a resilient inner life force all his own.
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