The four rules of arithmetic not only exist in the thinking and decision-making process during artists’ creational process, but also is in the true feeling of viewers. There is nothing to do with rationality or sensibility, realism, abstraction or virtual reality. It is so perfectly executed that you cannot ask for more or less. It hits people to make stories and sometimes it requires immersing in order to develop a reserved mellow quality. The unrestrained and far-reaching expression and imagination by artists, just like mystery, always achieve the unbelievable attraction during deliberation back and forth.

Among geometric blocks, colors, and image icons, Keng Hao-Kang presents the range and tempo amongst objects, phenomena and imagination in a bizarre way. There is nothing to do with Pop Art or conceptualism, Keng breaks away the limitation of time and space. Under such rational manner, well-organized caprice and romance, and hided enthusiasm, the intentionally plat animals and skeletons vividly leap out of composition and cannot be covered at all.

It is not photography. Yet Jang Tarng-Kuh amazingly stops and precisely captures the almost unlikely catchable moments for those cats with realism brushstroke. The puffy, delicate and soft hair almost leads viewers to feel the temperature of cats. The winkled faces of cats look so funny with a huge yawn. Those individually standing and outwards spreading tentacles speak out the toughness and unease of life. Nervous or unselfconscious, those cats have their own characters, emotions, reliance, ages and countless tolerance and spirits.

With ape-men as major subject matter, Zeng Ching-Shi, who isolates himself from all society watches the primitive nature and evolution of human nature with clear mind and sharp eye. Truth and false, beauty and the ugly, all transform into a lost and blur condition along side with the development of civilization and are trapped into the dilemma between further evolution and degeneration. The clear mind in such loneliness perhaps attributes to the unique charm which ape-man in modern age wondering around the world of mortals. It is just perfectly like Zeng as a self-taught artist transforms himself as like being possessed for unprincipled expression.

Deconstructing fables with formality, Tsai Shih-Hung develops such paradox-like post-Pop images based on the computer games of the next generation. The variety in the set stylization addresses such complicated simplicity and plainly simple complexity. There are some interesting elements soaring fiercely along with imagination while through the mysteriously-hiding from facial expression, gestures, body languages to the golden hue Tsai finds humorous and yet ironic painting language in In Low Spirits.

The lacquer paintings in dream-like hue inlay with pearl shells in irregular shapes, just like the star signs in the night sky, shiningly speak out languages from other galaxies as well as creepily tell about legends of the outer space. Hur Un-Kyung, the Korean artist, adopts pearl shells as pen brush and lacquer as pigments, layer over another layer, to create such beautiful canvases with a seemingly casual manner. The glory spread around the canvas is such unspeakable and yet heavenly perfect totem. It looks visually light and yet very weighty in the physical world.

Artists on view：Keng Hao-Kang, Jang Tarng-Kuh, Zeng Ching-Shi, Tsai Shih-Hung, Hur Un-Kyung