Every child is born with a special love and sensitivity to color, and likes to paint his feelings and perceptions with colorful brushes.  Here, Chen Zequan is no exception. Since he was able to write, he often graffiti on the paper.  He's always happy with making the paper full of colorful lines.  Slowly, he can capture the emotion brought by things.  At this time, he began to graffiti what he saw, experienced and felt.  He was especially good at describing the scene where his favorite car was integrated into his personal emotions.  Although it is not realistic, from the picture, we can feel the childlike innocence that is good at expression and the childlike interest brought by painting.

In addition to painting with colored pens, Zequan also likes to pinch colored mud and splice small objects.  The home's ready-made products, used paintbrushes, finished coke cans, various toys, small wood, and even shells and small stones picked up from the beach have become his props for splicing some bizarre shapes, which is an attempt and experience of volume and space.  Once it was particularly impressed, one day in March 2014, he messed up all the clothes hangers and piled them on the chairs.  Then he picked them out one by one, folded them on his knees, twisted the hook, called them ducklings, and then placed them on the floor.  In this way, he did it several times and lined up in a line, like a group of ducks whispering.  It's so interesting!  I were marvelled by this move which is consistent with dada's misappropriation of the finished goods, minimalism and conceptual art.

Zequan began to contact oil painting and acrylic painting when he was five years old in 2016.  At that time, our studio was by the sea and the space was relatively small, so he could only paint on the easel.  He is very interested in the color change and hue formed by mixing the brush on a variety of pigments, and then paint with these colors.  In the middle of 2016, Xiamen was hit by a Super Typhoon Meranti, which destroyed the studio.  He also felt the ferocity of the typhoon.  After the typhoon, he used his memory and imagination to paint a picture of the portent before the arrival of Meranti.  I have always had a question about this.  That is why he did not describe the tragedy after the typhoon, but depicted the calm and crisis before the typhoon.

At the end of 2016 our studio was moved to a new place where is large, so Zequan has a spacious working space that can give full play to himself. Here, I deeply understand the infinite energy of a child, that is, how much space you give him, he will show how much space imagination and creativity.  In here his childhood dream can fly.  The canvas from the shelf to the ground, from small to large, to the large canvas 5 meters long and 2 meters wide, is full of the whole workshop.  He paints freely, and comes at will, trying to use all the tools available in the studio.  He is very happy and persistent when painting.  It is very important that he can maintain unlimited passion for painting.

Most of children's happiness is based on play, accompanied by creation in play. Zequan's paintings attach importance to the meaning but not to the method, and attach importance to the interest but not to the shape, which also reflects the childlike innocence of children.  In the continuous exploration of painting, he has his own expression language.  From his paintings after 2019, we can vaguely feel the shadow of the picture being hit by props and the sense of power.  In 2021 his hitting art is more obvious and based on forming.  The spraying of paint and the action of different behaviors such as hitting, knocking and rowing of wood brush form a rich and colorful picture effect.  Time and space, speed and power leap on the canvas, vividly jump and full of vitality.