Flower blossom in spring means life; it transforms the end of four seasons into a new beginning, where mother nature leads life to all forms and courses. In the eyes of an artist, all the fantastic and exotic flowers are the subject of art.

There is oasis hidden among flowers, a certain connection between the flower and the earth, and the fold is their mutual secret language. The fold is the gesture by which the flower inscribes itself in the world, and the flower is the earth’s texture of the fold. In aesthetics, theory always comes after senses. Beauty is an active event that takes place among people and things; that is, the beautiful is a shift in consciousness, and creative art is an appreciation on that basis. The artists take in the various creative imaginations in life and, always ready to solve puzzles, they compose themselves from the heartfelt details in real life. Their works are but dialogues between art and life. If artwork is the fossil of time, what the artists have labored day and night is to transcribe the moments that touch them and organize those moments into the texture of life. The works that incorporate perspectives and ideas are the medium with which the artists communicate their emotions as well as their reflections on time and change. The works are the architecture of the way the artists experience the world; they signify their creative impulses. If in a wonderful moment such architecture resonates with the time, it would guide us to slow down and meditate before it so that, in this hasty and restless age, it could trigger the transformation of our senses.

At a time of monotony and shallowness, Wu Tien-Chang’s works always invite reconsideration and, with his intimate yet unrestricted expressions, make portraits of our time. The ever fresh charm of disguise in Wu’s art and the world he aspires to present before us accomplishes a performance that constructs the magic, the affections, and the beauty of our time. From oil canvas, photographic paper to image installations, now returning to oil canvas; such a creative trajectory, for Wu, is like a literature of his transformation, witnessing his insights on the exact state of life. As seen in Farewell! Juguang Tower, the character’s soul is connected to the web of the time, making this work like his most private diary for his artistic creation.

Lu Hsien-Ming’s art undergoes several phases, and where he shifts there would be secret messages hidden somewhere. The Tree series, his most recent works, is an extension of his concerns with the earth, space, and the environment; it is his tribute to this lush, rich land. In his art you would smell the scent of the land, see the traces of life and time; you would find Lu’s hopes in the society, as you would also find collective emotional memories. Tree is the beginning of you and I and all that’s around us; it’s also our hope for the future.

Tao Wen-Yueh’s poetic art is a note to the human world that demonstrates underlying narrative qualities. The preservation and flow of time materializes in the same time-space and makes all that’s in Tao’s work look like a mass of chaos; it displays the state of life with highly dramatic characters. Tao’s Sound of Chaos is inspired from his realization in Zen; its straightforward, unpretentious strokes call for resonance from one’s innermost internal world.

Keng Hao-Kang’s creative trajectory revolves around a system of objects as extensive and complex as a galaxy. The endless images of object are duplicates like the other map of his life, uncovering a journey he probably never planned or envisioned. In its clever arrangement of geometric shapes, Keng’s Ladder series tailor sophisticated and captivating layers of beauty. It invites us to take a step forward, observe closely, and enjoy the intense taste of colors with our own eyes.

As the recorder of the nature theater, Jang Tarng-Kuh’s paintings highlight and expand the subtle, delicate stories of ordinary objects, by which he relates the land and the self. Jang believes that art and nature are inseparable; it is how he, with his refined touches and profound warmth, portrays the vividly lively and realistic flowers among those curves and bends carved by lights and shadows.

In Tzeng Yong Ning’s works, the shapes and colors of nature are carefully arranged for the senses. In the world composed of colors and lines that so fascinates Tzeng, he presents a space of splendor as the entry to the world of dream and magic. In all charming and fantastical colors, the exquisite flowers over the ground are the subject of Tzeng’s two series Petite Splendor and Flower Colors. Every single stroke of color and touch transforms images into the two projects; they are the conversion of textures in life that, with shapes and colors, lead us to the unknown.

Yang Yi Shiang creates her beloved time in the quiet world of her own, where she captures the images of the artificial world interlacing with emotional flux. The space of montage is saturated with murky, faraway mist like specimen of time frozen in emptiness. In her works, the paint is like a coat of textile on the objects, gliding on the surface and superimposing the past and the future as well as the imaginary and reality. In her dramatic arrangement of space in her work, Yang confronts the complex emotions in everyday life.

Zeng Ching-Shi’s series Lost In the Jungle communicates his subtle and personal perspective with senses of ordinary life; here he structures a fantasy space of wonder and peculiarity that invites us to walk into his multiple narrative settings. Zeng portrays the plural ecologies of living world, where the characters are like flat, shallow signs yet animated with kinetic touches and bright colors. Not caring for destiny, they express a passion for life, and they daringly anticipate those to come.