「象外之象」出自唐代詩人司空圖，意指詩學中表現精神蘊涵和意象之美的藝術境界，言已盡而意無窮，正反映出陳氏在中國古典美學上的極致追求。

西方抽象油畫結合中國山水若有若無、似虛似實的詩意，成為他在中西方藝術探索和繪畫實踐中煉淨出的總結。詩人如何征服文字，藝術家便如何征服平面空間，留下藝術想像和意境再創造的廣闊空間。除了無窮想像外，來自爵士樂活潑放任的「自由精神」成為陳氏創作的另一靈魂。不照本宣科，無論筆觸速度、用色、構圖和佈局都變化不定；不一的情緒穿梭在當中，時而跳躍搖擺，時而悲鳴。徜徉於宇宙和人生之間的逍遙，繪境與心境融為一體，這便是陳氏尋找的精神自由。

爵士樂的出現源自於漂泊和不定，與疫情的不安正如出一徹，陳氏希望觀者能藉觀賞作品的一刻從現實中解放，獲得生命能量。天趣與藝術家陳偉邦誠邀觀眾前來「象外之象──陳偉邦爵式山水」個展，在陳氏築構的老莊式精神境地和藝術號角聲中躺臥暢遊。

"The image beyond image" originates with the Tang Dynasty poet Sikong Tu, which refers to the expression of the spiritual connotation and the beauty of poetic imagery. This idea aligns with Chan's ultimate pursuit in Chinese classical aesthetics. His abstract paintings mingle with the poetry of Chinese shanshui, which is vague and implicit. That becomes the refined summary of his Chinese and Western art exploration and constant practices. The artist conquers the flat space like poets conquer words. In addition to fine imagery, the "free spirit" from jazz music has become another soul of Chan's works. There is no definite routine or strategy on the speed of brush strokes, color usage, composition and layout. Different emotions are rendered through it, jumping and swaying at one time and lamenting at the other time. Wandering freely between the universe and life and mingling the state of mind in paintings, is the spiritual freedom Chan pursues.

The emergence of jazz comes from drifting and uncertainty, which exactly situates the unease of the pandemic. Chan hopes that the viewer could be enlivened and liberated from reality by seeing his works. Art of Nature and the artist sincerely invite you to visit the solo exhibition "Clement Chan: Jazz Improvisation through Abstract Shanshui", where you could divide into the Taoist spiritual realm and immerse in the improvised "music" created by Chan.