陈家业的新作从题材到手法上都有很大的不同。他将目光从对历史的冷静眺望中收回，转而投入自己内心的欲念、狂想和纷繁复杂的现实世界，并试图用一种更为激烈、直接的形式把所有这些感受、经验和思考熔于一炉。这把火不仅在他熟悉的古典绘画卷轴、画册间燃烧，还波及了自然界的水与天，人类社会的广场和会议室，这都是首次出现在他的绘画中。某种意义上，这组画是他画给当下的自己的，这是他接纳的社会意识、信息向下沉淀到身体层面时恰好遭遇生命感性自下而上冲撞时才会有的根源性的体验-动作的产物。

Chen Jiaye’s new works were very distinguishable in comparison with the previous series. He shifted from the even-tempered historical perspectives to his internal desire, fantasy, and complicated world views. More so, Chen was trying to express them in a more passionate and direct form in combination with his sensational feelings, life experiences as well as logical thoughts. The fire incidence did not only take place on the ancient scrolls which he was familiar with, also spread to the nature, water and sky. Places such as square and conference room had never appeared in Chen Jiaye’s paintings. To some degree, this series reflected his current state of mind, and were the fundamental experiential and dynamic product of his understanding and interpretation of the social consciousness and information that filtered down and impacted on his sensibility and physicality.