卓凡一贯着迷于材质之间的转换，他的作品有着一种对有着可能性悖论——持着不思议的执着。
这组作品将食品属性与原本坚硬冰冷的雕塑形体糅杂在一起。
那些膨化的、可溶的、掉渣的雕塑作品在制作的开始就被注定拥有一种吃掉、消化掉、排泄掉的宿命。
气味的嗅觉、油腻的触觉和吃到嘴里的味觉，在很大程度上占据了观感的主要位置。
作品的体量感不但是非厚重的，也是非恒久的，这组雕塑从诞生之初就具有将本该拥有的纪念性很快地消解的宿命。
而通常，视觉才是主体。
在材质转换的矛盾性中，悖论的通感也完成了。
通感是一个接近神经质的词汇，而这组作品搅乱了接受纬度的单一性。
可以看出卓凡的这组作品一直致力于一个悖论的完成，即使它只存在于咀嚼的过程之中。

Eated
By Qiushi
Mr. Zhuo Fan, whose work holds permanent and incredible interest for the paradox in a possible way, used to be absorbed in the transition among materials.
In this set of works, a mixture was made with the property of food, those hard and cold sculptures. At the very beginning, those swollen, dissolved, smashed were destined to be eaten, digested, and released.
To a great extent, the impression is predominated by smelling of odors, greasy touching and tasting.     The appreciation of this set of sculptures is neither massive nor permanent. Therefore, when originally created, they were doomed to be forgotten in a short time instead of being commemorated for long.     While in many cases, it is the vision that speaks. In the paradox of transition of materials, the transfeeling of paradox was also achieved.     Lexically, transfeeling is a word adjacent to hypersensitivity, nevertheless, this set of works have transcended the singleness in latitude.      It can be concluded that the creator of the works is always dedicated to a fulfillment of paradox, even if it only exists in the course of digestion.