陈灵刚用《阅读》和《传承》来命名他的两个作品系列。在《传承》系列中，水墨的汉字造型和宣纸折叠出的粗狂肌理凸显出一种形式化的张力，在把中国传统水墨绘画彻底解构为一些形式的组合时，作品的“意义”似乎已经溶解在那些没有意义的符号中，它至多只是提供给我们一些联想和比附，只有身临中国文化的语境，你才能直接感悟着这种语言构成和表达对我们的视觉冲击，并促使我们对历史的思索和与追问。在《阅读》系列中，墨也被消解了，留下的纯粹是各种纸张的组合，在这个无字的阅读中，就如同历史所营造的所有未解之谜一样，最后呈现的只是一种象征性，而意义的解读则为所有人的心灵想象打开了空间。

在一个图像爆炸和物欲横流的时代，在一个已经忘记了历史甚至刻意背叛历史的时代，一个对历史和文化充满敬畏的年轻人，只是凭着一种直感和潜在的历史意识，在其同龄人的视野之外，用现代的或当代的观念，书写出自己的文本。这或许也是一种历史的写作。（——荣剑）

Chen Linggang named his two series of artworks “Heritage” and “Reading”. In his “heritage” series, Chinese ink characters combined with the rugged texture of folds in the rice paper leave a strong impression on viewers. Without a deeper understanding of its history, when traditional Chinese ink painting is completely deconstructed and then reconstructed in a combination of different forms, the significance of these artworks can only arouse our imagination through meaningless symbols. Only if we immerse ourselves in the context of Chinese culture can we directly experience the visual shock of this artistic composition and expression that compels us to question and meditate further on history. In Chen Linggang’s “Reading” series, ink fades away and only the combination of various papers is left. Reading these wordless works is the same as analyzing mysteries in history, which ultimately is the symbolic meaning. The process of reading opens a vast space for the viewer’s imagination. ----Excerpts from “History on the Paper” by Rong Jian