陳志駒從事影像創作十餘年，由紀實攝影起步，透過機器之眼探索與被攝物間的主客關係，進入近年以被攝物作為影像素材，加以疊合、拼接，變造成為⼀一藝術家介入的主觀影像，呈現獨具詩意的新美感經驗。

當代攝影很大⼀一部份以場景塑造（mise-en-scène）為核心，影像僅作為最終端的媒介。攝影或是藝術家對於影像本身的介入，退到了表現的最後方。在傳達意念的最前緣，是本著影像真實性的前提，以影像中場景的存在對觀者呈現的概念。而陳志駒的作品則是將影像擺到了藝術表現的最前緣，他刻意將影像平面化，去除作品的空間暗示，藉此否定其中場景的存在，切斷與現實的連結，企及⼀一種全然出自藝術家意念的主觀創作。這樣的創作風格回歸到影像作為⼀一種圖像語彙的純粹語境，重視圖像間互相呼應的化學作用。陳志駒將數十個影像圖層疊合，創造出細膩而豐富的視覺質感，在各圖層間透過比例的調整、構圖的佈局，以蒙太奇的跳接方式，在影像間發生新語意，在當代攝影的潮流中，顯得獨樹⼀一幟。

如果我們大膽地將近世的藝術變遷簡化為從創作意圖（ i n t e n t i o n ） 到意圖性（intentionality）的過渡，那麼陳志駒的影像作品則是以類文學式的影像語彙，提供了⼀一個創作的新方向。他的作品有別於許多當代作品基於個人經驗的夢囈言語，也避免了太過專斷的藝術家特定指涉，而是建立了⼀一套影像邏輯，藉圖像挑起觀者的視覺經驗，尋著陳志駒的敘事模式獲取對作品的自身詮釋。觀看陳志駒的作品是⼀一種複雜的視覺經驗，他以日常記錄下的影像為素材，在數位的操作中，宛若手作地撿選並變造影像，塑造⼀一種藝術家主觀介入的強烈視覺風格，在機械複製的年代，閃爍著⼀一種前人未曾談論的藝術靈光。

Zeno Chen started with documentary photography and in recent years, he has used photographed objects as imaging source materials, superposing and slicing them to transform into subjective artist-intervened imaging that portrays a unique poetic visual
experience .

In Zeno Chen's works, imaging is presented in the front line of artistic portrayal. He purposely makes imaging complanate and eliminates spatial implication in his works to deny existence of the scene and cut the bonds with reality, attempting subjective creation works completely out of his consciousness. Such a creation style is traced back to pure context of using imaging as picture communication, laying emphasis on chemistry between imaging response. Zeno Chen superposes more than 10 imaging layers, establishing a delicate and rich visual texture, and creates new pragmaticality with Montage's shock cutting and sequence editing through proportion adjustment and composition arrangement between layers. Of the contemporary trend of “mise-en-scène” in photography, Zeno Chen appears unique. He establishes a strong visual style of artist's intervention by digital techniques as if they were manually selected and transformed. In the age of mechanical reproduction, his works glitter with a miraculous aura that has never been spotted.