欣赏陈子君的绘画，会使人体会到一种综合多元的感觉。比如明媚而舒展的画面却会使人产生神秘和不安的情绪。欢乐的表象下却隐含着忧郁的氛围。轻柔虚幻的画面意境却依赖于坚实、极强物质感的肌理来支撑。还有画中人物形态是生动而丰富有趣的，但表情却难以揣摩。陈子君的表现方法的确很独特，这使得她的绘画意图游离于现实与幻觉之间，提供给我们丰富的想象空间以及反复咀嚼的可读性。
　　陈子君有一种令人羡慕的把握形体的能力，这一半是得于她的天资，另一半是她历年来的苦修。她会将客观的造型理念作为她改造形态最有用的工具来加以运用，所创造出来的形象虽然越出了客观真实的范畴，却建立起创造性的真实语境。在似与不似的视觉词典里，她选择了最为符合她精神含义的表象形式——“气质”，来作为她对人物形态的概括。因而它所表现的人物外部形象虽然与客观真实相去甚远，但精神气质却处处显示出人的喜、怒、哀，乐。在她的油画《恶女十忙》里，我们能体验到什么呢？是费解吗？那可能是因为我们选择了客观真实的经验。但如果我们被深深地吸引了，那是因为从创造性真实的角度去欣赏了。我们欣赏的是一种绘画语言的魅力，是线条流畅的穿插，是色彩丰富的能力，是色层叠加，是轻重缓急的节奏。这些元素聚集一起形成画面中的叙述：欢愉、慵懒、闲适、忧郁……我们在欣赏之中自觉不自觉地进入到女人内心的精神空间之中。
　　陈子君笔下的女性，其本意已演绎为一种晶莹剔透物质的象征。她们轻柔地隐藏在温润的色层后面，散溢着糖一般甜丝丝的味道。游离于妖艳与清纯之间的姿态，犹如一条条柔软的触角，缠绵地伸入到她敏感的内心世界里。仿佛是哝哝低语，又仿佛在明眸宁视，然而略带伤感情绪的灰色调却暗示着一种莫名的无奈。虽然面对现实的浮躁和喧嚣在这里能得到暂时的逃避，但孤独的影子却无法去除。陈子君所表达的实际是她个人的心理体验，她凭着娴熟的把握画面的能力，将画面经营得温火适当，然而一旦涉及到女性的本质时，就显现出她女性特有的柔弱，现实中无法排解的郁闷和孤独便情不自禁地流露于其中。陈子君在画《晴转多云》时曾这样表述：“情绪似乎是女人的特征，好像从来都是在受到情绪的左右。夏日的广州，每天报纸、电视上都是些类似‘晴转多云、阴转小雨、中雨转大骤雨……’等等天气预报。随时降雨，忽又暴晒，这种变化莫测的气候就像女人的思绪一样难以预料，然而这种表象就连女人自己也不明白真正的原因，当这种郁闷、孤独和不安压在心中无法排解的时候，便毫无规则地显现出来。”对于陈子君来说，将情绪转换到作品中去排解，这是她一种宣泄的方式。然而对现实的认识，对当代艺术青年最为敏感事物的认同和参与意识，陈子君同样也采用了转换到作品中的方式，这是她的态度。在油画《诙谐生活》中，她毫不掩饰自己对时尚感兴趣，对无忧无虑生活、甚至玩世不恭的向往。对陈子君他们这代许多人来讲，现实责任感与玩世心态是共集一身的，历史责任是上辈人的事，起码不是玩艺术的青年人的事，于是现实欢娱和时尚功利成为他们热烈追逐的东西。陈子君也是这代艺术青年中的一员，她同样也抱有强烈的追逐时尚热门的心态，然而妙就妙在她适当地转换了。她具备这代艺术青年少有的绘画技艺和传统的审美能力，于是她将欲火般的浮躁轻巧地转换到了作品中，以至使充满年轻人嬉戏、调侃的《诙谐生活》成为这代艺术青年创作中不可多得的佳作。陈子君一不留神承担起了“历史责任”。
　　一般来说，女性画家对色彩比男性画家敏感，这在许多画家身上得到验证，陈子君也不例外，她对色彩的提炼和运用使得她的作品给人一种高级的、有教养的感觉，同时加上对造型的敏锐把握能力，使她具备相当自由的实验的本领。她的每幅作品对色调上的严密控制，给观众提供了第一眼审美信息，也就是说，观众第一眼看她的作品，色调就会使人觉得此画非同一般，而在继续欣赏过程中又会体会到在这大的色调控制下丰富的色彩内容。她能将灰色处理得十分微妙而丰富，这些不同冷暖的灰色相互并列、交织、渗透，沉稳地伏贴在画面上。为了使画面色层饱和、结实，她选择了不同材料，利用肌理来增强这种效果，当色彩渗透到肌理中时又形成生动的印痕，这种印痕在造型的引导下展开，又完成了画中人物或物体的塑造。这一连串的连贯关系使她的画面上的色彩、肌理、造型，印痕等浑然一体，天琢玉成。在她的作品《乐园》里我们就很能够体会到这种妙和。在这幅画里，灰蒙蒙的宁静给我们第一印象是那一片充满怀旧情调的灰色包含着往日的空间，包含着梦魂萦绕的童年记忆中的空气感。整体是素雅的，却由微妙丰富的色块建构着整个色调。这些色块相互并置、叠加，渗透在一起使整片灰色饱和、沉稳。隐形不定的线条在灰色中穿插，团块和色点有节奏地沉淀于灰色之间，细看上去原来都是小动物的身形。这些小精灵时而凸现，时而藏头隐尾，越往下看去，越来越具体，灰色里热闹起来，逐渐形成一片林子，成为小精灵们追逐嬉戏的乐园。陈子君是一个性情中人，在她记忆的深处依旧隐藏着曾经使她感动的、使她愉快的故事和事物，哪怕是一棵树、一片林子、一只小动物，都会使她难以忘怀，她会常常流连于其中，回忆着点滴美好时光。因此无论她的画如何的虚幻，如何的写意，但包涵于画中的具体物象始终承载着作品的意义，所有其它元素的反映都是围绕着这种意义在进行，从而令她的作品不但具备较高艺术本体价值，同时也存在着较深的精神内涵。

Appreciation of Chen Zijun’s Paintings
　　By Guo Runwen
　　Guangzhou
　　2005
　　Chen Zijun’s paintings will arouse various and comprehensive feelings. A clear and smooth painting can stir mysterious and restless emotions. Beneath the cheerful image is the melancholic atmosphere. From the firm and strong skin texture, soft and illusionary sensations appear. And it is difficult to figure out the facial expressions of a wide range of lively and interesting images, because Chen Zijun has adopted unique skills of presentation. Therefore, her paintings, a mixture of reality and illusion, provide readers space for imagination and repeated appreciation.
　　With her gift and hard work, Chen Zijun has got admirable capacity of managing the physique. She employs the objective plastic concepts as the most useful tools to make shapes. Even though the images are built up on creative realistic context, they exceed the category of objective reality. She chooses “temperament”, a word that best coincides with her spirit, to represent her images. Although the physical images are far away from reality, their temperaments can fully show a man’s happiness, anger and sadness. What can we experience from her painting Evil Busy Girl? Is it difficult to work out? Maybe. We can approach to it from our objective experience. If we are deeply attracted, we appreciate it from the angle of creative reality. It is the charm of painting language, the woven smooth lines, the overlapping of different colors and the rhythms that attract us. All these elements together convey the feelings of pleasure, languidness, comfort and melancholy. Unconsciously, we come into the inner world of the painter, when we are appreciating her paintings.
　　The female images of Chen Zijun’s paintings are crystal. They are gently hidden behind the warm and soft color layers, giving off the taste of sweetness. Their gestures are something between coquettishness and pureness, like a long and soft feeler, lingers on her sensitive inner world. They look like muttering, or watching something, while the gloomy and sentimental color indicates a feeling of unexplainable helplessness. Though one can escape from the sounds and furies of the world, the isolated images are lingering. Chen Zijun here is in fact expressing her emotions. With her dexterous skills, she can appropriately manage the frame. But when she comes to the female nature, the softness and weakness of women are presented. She can’t help expressing the feelings of melancholy and isolation from the reality. Chen Zijun expresses in her painting Comical Life the idea that emotion is the unique characteristic of women. It seems like the changeable weather in summer Guangzhou. Rains come at any time, but soon it will be terribly hot. Women’s emotion is apt to change like the weather. You can never tell when it will change. But even women themselves cannot find out the reasons of the changes. When they can not get rid of the feelings of melancholy, isolation and restlessness, their emotions are expressed unboundless. To Chen Zijun, she unbosoms herself through painting. At the same time, Chen Zijun transforms into her works the observations on the reality, the recognition of the sensitive matters and the consciousness of participation of young artists today. In her Comical Life, she fully expresses her interests in fashion, and her dreams of cynical life without worries. To most people of Chen Zijun’s age, realistic responsibility and cynicism is integrated. Historical responsibility, in their opinion, is the matter of their fathers. It, at least, will not be taken by the young artists. Therefore, they eagerly entertain the reality and pursue fashion and utilitarianism. Chen Zijun is one of them. Though she embraces the idea of pursuing fashion, she makes transformation skillfully. She is equipped with ability of traditional aesthetic appreciation and painting skills which are seldom possessed by young artists. The transformation of restlessness makes her Comical Life, which is full of youth plays and ridiculousness, one of the best works among the youth arts. Unconsciously, she takes the historical responsibility.
　　Generally speaking, female artists are more sensitive than male artists. The proofs can be found in many artists. Chen Zijun is not an exception. Her refinement and application of color give off a senior and cultivated sense. Besides, her sensitiveness to shape making equips her with the ability to experience freely. The well management of hues in her paintings impresses spectators with aesthetic information. That is, the first sight of the paintings, spectators will have special feeling because of the hues. Going deeper, they will experience richness beneath the hues. The color gray is skillfully and delicately handled. The juxtaposition, interweaving and penetration of cold and warm colors steadily stick to the frame. In order to saturate and firm the color layers, she chooses different materials and makes use of the skin texture to enhance the effect. When the colors penetrate into the skin texture, lively marks appear. These marks will extended by the shape. Thus, the character or the object of the painting is formed. All of these make the wholeness of her work. In her work Paradise, the delicacy can be felt. In the painting, the gray quietness first gives us the impression of gray nostalgia, including the past space and the air of our childhood which often comes to our dreams. The painting is simple but elegant on the whole. But the delicate richness of each color plate constructs the tone of the painting as a whole. The juxtaposition, overlapping and mutual penetration saturate and steady the color gray. Invisible and unstable lines are interwoven in the gray. The blocks and spots rhythmically precipitate among the gray. Through careful observation, you will find that they are small animals. These spirits sometimes show up, sometimes hide themselves. Gradually, you find the life in the gray. A forest is found and it is the paradise of the animals. As a person full of emotions, Chen Zijun cherishes a lot of good memories. There is always something that will touch her and give her pleasure, even if it a tree, a forest, or a small animal. She always lingers on these good memories. No matter how illusionary and expressive her paintings are, the concrete images in the work carry the meanings of her works. And all the elements are centered on the meanings. Her works thus have high aesthetic value and deep spiritual connotation.
　　2005年 广州