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 sparks
to 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.
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 sparks
to 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.
