抽象与水墨材料，构成了陈心懋创作的两条主线，它们交错进行，相互渗透。前者保留着中国画的笔墨材料，但精神指向是现代人的灵魂返观;后者引入了非传统、非绘画性的材料，但保留着中国画及其所代表的东方审美意念。

　　立足于东西方文化，从传统中国画着手，陈心懋经过了二十余年的艺术探索，已经站到了当代中国艺术的前沿。无论从中国画的角度还是从综合材料绘画的角度来看，陈心懋都是值得我们注意的一位重要艺术家。他的创作，一方面拓宽了我们对中国画的认识和理解，加大了中国画变革的力度;另一方面，也为中国当代艺术对西方艺术的研究借鉴，提供了有益的启示：那就是在国家化艺术语言的背景下，如何凸现区域性民族文化与精神，使之在世界性文化交流中具有不可替代的独特性。

　　载于《艺术潮流》 1995年第1期

　　Based on eastern and western culture, and started with traditional Chinese paintings, Chen Xinmao has reached the leading position after his more than 20 years' exploration in art. No matter in terms of traditional Chinese paintings or paintings of combined materials, Chen Xinmao is a very important artist who shall draw our attention. His works, on the one hand extended our perception and understanding of traditional Chinese painting, and enhanced the innovation of it; on the other hand, they also give valuable inspirations for Chinese contemporary artists to study and draw lessons from western arts, that is how to highlight original and national culture and spirit in a background of international art languages so as to make them irreplaceably unique in world culture exchange.

　　By YIN Shuangxi Chen Xinmao, Toward the Realm of Silence, Printed in Art Trend, Volumn 1, 1995