SU Wong-shen's distinct bird’s-eye view technique gives an extraordinary visual imagery to his panoramic scenes or narratives.
Benrei HUANG draws inspiration from everyday life and uses Nini the rabbit as a vehicle for contemplation and reflection on her experiences.
WANG Yuping typically blends acrylic, oil pastel, oil paint on handcrafted paper, and according to Fan Di-an, this mixture allows the color patches to maintain their loose and random feature.
Shida KUO's simplified earthenware forms seem to allude to ancient knowledge, to wordless secrets that may be revealed through contemplative touching of the object.
LAI Chih-Sheng's work is not based on artistic technique but conceptual practice that imparts his audience a familiar yet new experience that is both immediate and poetic.
The basic unit of TSONG Pu's painting is square stamp, by which he expresses the movement and self-autonomy of artistic ideas in the cubic or geometric hard-edge compositions.
SZETO Keung’s realistic imagery, the rose, is a speck of dust floating between the galaxy and black hole. Roses to SZETO are a symbol of his emotions.
In 1963 HSIA Yan went to Paris to study art and it was during the five years that he spent there when he developed “fuzzy man".