Signe en mouvement names the central problem directly: a sign can carry gesture, direction, and weight without settling into language. Dark strokes cross the square field at different speeds, while lighter passages push from behind. The canvas reads as an event unfolding rather than a fixed arrangement.
Chu's calligraphic inheritance matters here, but the painting is not enlarged calligraphy. Oil has drag, opacity, and the power to bury earlier decisions. He uses those properties to make movement layered and spatial, as if a written impulse had passed through weather and geological pressure.
