Now in the mature stage of his life, Chen’s practice centers on structural inquiry within painting. Moving beyond established conventions of traditional ink art, he integrates the material density of heavy color (zhongcai) techniques with the spatial logic of ink painting. Through the tension between color and brushwork, he reconstructs the landscape as a structural field rather than a representational image.

Working from within the material foundation of classical Chinese painting, Chen initiates a methodological reconfiguration of the medium itself. Senxiangism emerges from this process — not as stylistic fusion, but as an unprecedented structural experiment grounded in the internal logic of ink.

His work does not seek to revive tradition, nor to merge Eastern and Western aesthetics. Instead, it proposes a renewed mode of painting that tests whether a long-standing pictorial system can regenerate under contemporary conditions.