The road lays always before the feet, and only those ahead of the times could create history. For the life past, what impressed on the artists' canvas and how frenetic persistence they took for art, time will tell. And what story comes up next, time will develop after the present. In the time frame, we experience the real trace of years; beyond the time, there is endless legend, and the climax and twist crossing through all express freely in the powerful and fascinating creations.

Yoshitaka Amano uses strongly contrasting brilliant colors on the aluminum to build a fantastic space where the past and future coexist, expressing an immense wave, but still elegant as a poem. Mr. recreates the joyful memory of youth in summertime with lively and delicately cartoon & comic style. Full of interest and charm of Post POP, Thukral & Tagra reviews India during the transition between the past and the future with the romantic vocabulary in daily life. Wang Pan-Youn refines spirits from appearances and colors the pictures by the moral. The main character always sits at the corner in silences, leaving a huge boundless space for mystic colors to depict meaningful stories. As time goes by, the girls on Wu Hao’s canvas never become old, and those gorgeous flowers in the memory never fade away as well. The horse racing is intense as Wu Hao’s plentiful creativity falling on the most colorful page of life with the curvet of the horse. Kuo Jen-Chang directly pictures the strong feelings of social observations into flattery seductive images. Black lines separate vulgar colors and totems, express those erotic, overthrowing, superstitious, wild, subconscious faces. Chen Ching-Liang has turned Miaoli clay, which is as hard as stone, into soft smooth tofu, the old wood plank and the rotten iron nails that holds the tofu. Through these three vivid but different textures, A-liang represents the extreme challenge to the limit of visual art as well as the hardship and tenderness of time. Lee Ming-Tse embodies his identity as a storyteller, utilizing primitive colors, childlike strokes and humorous Lee’s symbols to unlimitedly narrate on the canvas the fairy legends and myths and experiences of folk lives. Tao Wen-Yueh uses spots, lines, patches and totem signs to combine with elegant and inward colors of life; brings us to look for the truth of the outer world and the infinity of imaginative world. Lu Hsien-Ming loudly pronounces a prospective morale and attempt with precise and firm structures of overpasses. Jang Tarng-Kuh particularly likes natural ecology of "Roadside Theater". In the deep shadow of green under the obscure atmosphere and in the fruitfulness covered by twigs of plants, we find that beauty accompanies sadness and happiness binds danger. In artist's dramatic plan, we are amazed that the passion after silence on canvas spreads affectively.

Not superficial. The dream, sympathy and sigh in the artist’s subconscious full of charming expressions of life freeze the time and space somewhere afar, form into beautiful records, and shines splendidly into the future’s legend.