陈文令的小红人系列具有颇大的视觉冲击力，这证明，他创作的心理场非常广阔，有一种舍我其谁的劲头。我听到一些人用了“壮观”的字眼来评价，“壮观”无非说明作品在“量”上的庞大和“质”上的张力，同时也表明某种惊人的新奇感，没有新奇感，能引起这个花
花世界人的注意么？人们已被各种各样的花招弄得胃口全无，除非在花招之中确实具有让人警醒的东西。小红人以规模和组合取胜，因为陈文令的制作原则是重视环境和作品的交融及互动，这也是当代艺术，特别是当代雕塑的一个特征。从相对封闭的展示场所走向公共空间，使作品更富公共的参与性，如此，雕塑就不再是单纯的存在，而是作为整体环境的一个有机部分，参与者和作品之间构成了呼应关系，产生出一种“在场”的情景，这种情景可能是诗意的，也可能是观念的。小红人系列在诗意和观念的交叉地带，陈文令既不像本雅明定名的诗人气质，又不是昆德拉说的哲理类艺术家，我的看法是，他属于在生活中寻找灵感并将其融化为创作源泉的人。就是说，在背后支撑他的是一股生活的原始力量，它与形而上思考，
与抽象道理都无多大的联系，他紧贴着感觉的经验，或是经验的感觉。正如他自己一再声言的，是生活本身教给了他一切。
“门”没有关住陈文令，却倾注给了他反抗的激情和动力。很显然，没有艺术家可以在信息渠道和交流通途完全中断的情况下创作出好作品，也没有艺术家可以在时尚风气的随波逐流中得到大家尊敬。陈文令身处“边缘”，与主流艺坛保持距离，但他没有忽视最新资讯对创作的促进。当代艺术的多元化和多元化所要求的当代性是
一致的，一个有实力有创见的艺术家必须站在当代艺术的平台上，否则便很难获得发展。陈文令以雕塑的形式来表达他的全部生活感受，他对雕塑语言的理解是“后现代”式的，与学院主义，与现代主义都不一样，“语言”的位置退居到了次席。刺激的红颜色，不断的复制，大大小小的形状组合等等，这些都显示了特殊的表现力，封闭的状态被他用实际行动打破了。也许，就他的单个作品而言，并无突出之点，为数不少的雕塑家都能够做到或者做得更好，
这不说明任何问题。小红人系列是个整体，以亚里士多德的说法，整体是大于各部分之和的。我仍想指出，陈文令伫立在诗意和观念的交叉地带，小红人系列不仅是视觉形式，还有背后那种原始的生活情态，以及被概括过的想象空间。
在一次谈话中，陈文令表示，小红人系列已经成为他创作的过去，他的感觉和经验还要更深地挖掘，以他的话说，有多少东西争先恐后涌动在脑海里，需要适当释放出来。小红人系列只是一个他目前的符号，尽管这个符号具有强烈的个人色彩，受人瞩目，但它仅是第一个台阶，做艺术家不容易，做优秀的艺术家更是难上加难！
What is behind The Red Memory?
The Red Memory series of Wenling Chen has a very strong visual impact, from which we can tell that he is an artist with an extraordinary open creative psychology, and the energy of one of a kind. On the occasion of describing this artwork, the word "magnificent" often came to my ears. "Magnificent" states the tension in both quantity and its great character, and also means there is an amazing sense of newness in this work, in this razzle-dazzle world, the public hardly ever find anything attractive without such newness. We've already lost our appetite to all kinds of fancy tricks unless there is something truly mindful in it. Its size and combination made The Red Memory an outstanding piece of artwork, since Wenling Chen upholds the creative principle of respecting the interflow and interaction between the environment and the artwork; and this is also a significant feature of contemporary art, especially in contemporary sculptures. Moving from a relatively closed exhibition space to a open space makes the artwork much more participatory to the public, thus, the sculptures are no longer a simple existence but an organic part of a holistic environment; an echo emerged between the artwork and the participators, creating a scene of "being-there" , and this scene could be poetical, or, conceptual. The Red Memory series stands in the junction of poetical and conceptual, Wenling Chen is not exactly the poetic temperament described by Walter Benjamin, or a philosophical artist referred by Milan Kundera, in my understanding, Chen is more like someone looking for inspirations in life and sublimes it into sources of artistic creation. In other words, what really behind Chen's back, is a primal power of life, it doesn't have much to do with the metaphysical thinking or abstract truth, he simply sticks to the experiences of feelings, or, the feelings of experiences. Just as he has declared, time and again, it is life taught him everything.
The "gate" did not cage Wenling Chen but poured the power and passion of resistance in him. It is clear that no artist can create a masterpiece without any information access and channel of communication, or either can one earn respects by drifting along with the current of fashion. Chen is at the "fringe", where he keeps a distance from the main stream art circle while he appreciates that how artistic creation can be stimulated by the latest information. The diversification of contemporary art is consistent with the modernity required by the diversification; a capable and creative artist must stand on the platform of contemporary art in order to pursue further development. Wenling Chen uses the form of sculpture to deliver all his feelings in life, his understanding of sculpture language is "post-modern", different from academism or realism, "language" slide back to the background here. The stimulating color of red, the repeated duplication, the combinations of various sizes and shapes and so on, they all demonstrate a strong expression in his work, he has broke the imperforation with actions. Maybe one red boy doesn't stand out as one single separate piece of sculpture, which many artists could achieve this or do even better; however, it doesn't mean anything. The Red Memory is a whole, a unity, a bigger picture, according to Aristotle: The whole is more than the sum of its parts. I would also want to point out that, Wenling Chen is standing at the junction of poetical and conceptual, The Red Memory is much more a visual form, there is an original vital spirit behind it, and as well, a summarized imaginary space.
During a conversation, Wenling Chen has expressed that The Red Memory is now his past, and he needs to dig deeper for feelings and experiences, in his own word: there are so many things tumbling and falling over each other in my head, which need to be properly released. The Red Memory is a mark for his present, though it is a very strong personal mark and has brought him a lot of attention, it is still a first footstep for him; it is hard to be an artist, but it is much harder to become an outstanding artist!