Creation Theme /

On the 2nd floor, works blend golden yellow, blue‑green, and vivid green to generate visual tension between stability and flow, order and chaos. The strong sense of dynamic aesthetics emerges through these contrasts.
From a philosophical standpoint, both floors reflect Deleuze’s rhizome concept—rejecting singular centers and linear narratives, embracing fragmentation, fluidity, and multiple connections. The pieces lead viewers through fragments and wholes, order and disorder, prompting deep reflection on contemporary ways of seeing and worldviews.

Creation Theme /

On the 3rd floor, cool blues, gray, and mist tones combine ink‑wash brushwork with contemporary abstraction, transforming landscape into philosophical dialectics of real and imagined.
From a philosophical standpoint, both floors reflect Deleuze’s rhizome concept—rejecting singular centers and linear narratives, embracing fragmentation, fluidity, and multiple connections. The pieces lead viewers through fragments and wholes, order and disorder, prompting deep reflection on contemporary ways of seeing and worldviews.

Creation Theme /

“Life’s consciousness of time” records the cycles of growth, dormancy, and resilience through the seasons. Fading colors and withering leaves trace time’s passing and the frailty of existence. WANG GON-JER employs interwoven gray tones, oscillating between cool and warm, with simplified strokes to capture seasonal emotional shifts. These poetic works gently guide viewers to find inner calm and insight in fleeting moments.

Creation Theme /

The “A segment of Time and Space” acts as windows into the depths of the mind, connecting time, space, and belief. The pure forces found in nature dissolve into emotional stillness, creating a spiritual domain beyond worldly distractions. The layered colors and delicate strokes translate the flow of emotion and natural change. Through these works, time and space float beyond physical concepts to become tangible lived experiences. Viewers are invited into a state of contemplative silence and infinite possibility.

Creation Theme /

“Every Night” is a seven‑part series representing the seven days of a week. Each of the seven colored lines symbolizes the mind’s changing consciousness on each day. Through shifting hues and moving lines, the series reflects the richness of being and the inner diversity of thought.

Creation Theme /

“Crossing and Connecting (Triptych)” uses repeated exchanges of background and line colors to evoke the overlapping and back‑and‑forth flow of thoughts. The slow, layered rhythm invites viewers to experience the shuttling between order and chaos within the mind.

Creation Theme /

Li Cheng-Hsun's works are displayed across the 8th and 9th floors. On the 8th floor, his long-running Lines Series features grid-like visuals composed of overlapping tape and paint, revealing moments of spontaneity within deliberate structure. On the 9th floor, his works incorporate more figurative and cultural imagery, drawing from reduction and impression to uncover deeply embedded memories and emotions from everyday life. While the geometric forms may appear flat, they hold subtle traces of time and process, mirroring the fragmented yet real experiences of the viewer.
The Urban Myth Series employs a subtractive method of sanding layered pigment, creating a unique abstract vocabulary infused with urban contours and personal emotions. In contrast, the Confectionery Series uses pigment poured into traditional pastry molds over 50 years old, imprinting shapes that evoke cultural memory and reflection on heritage and time.

Creation Theme /

Li Cheng-Hsun's works are displayed across the 8th and 9th floors. On the 8th floor, his long-running Lines Series features grid-like visuals composed of overlapping tape and paint, revealing moments of spontaneity within deliberate structure. On the 9th floor, his works incorporate more figurative and cultural imagery, drawing from reduction and impression to uncover deeply embedded memories and emotions from everyday life. While the geometric forms may appear flat, they hold subtle traces of time and process, mirroring the fragmented yet real experiences of the viewer.
The Urban Myth Series employs a subtractive method of sanding layered pigment, creating a unique abstract vocabulary infused with urban contours and personal emotions. In contrast, the Confectionery Series uses pigment poured into traditional pastry molds over 50 years old, imprinting shapes that evoke cultural memory and reflection on heritage and time.

Creation Theme /

“Horizon” reflects on the realization that the horizon is a supreme illusion, while the sea is endless labor. Inspired by gazing at the horizon, the work reaffirms that the horizon is visually stable yet illusory, whereas the ceaseless waves symbolize ongoing creative labor.
Using the compositional painting method, the single canvas is transformed into a multi‑framed structure, responding to abstract painting’s spatiality and evolution. It prompts contemplation on painting’s relation among materiality, illusion, and spatial form. Within the canvas, the horizon remains a visual conjecture rather than a physical presence.

Creation Theme /

The “Rotation” series explores how shape embodies both illusion and materiality in painting. Comprised of multiple canvases of identical dimensions, the rectangular images reflect the canvases’ own frame proportions. The lines within correspond to the canvases’ edge widths. These elements stack to form a visual order that transitions from illusion to physical form.
Together, the rectangular imagery and physical canvases create a revolving sequence that oscillates between the virtual and the tangible, the flat and the spatial. Through this compositional method, LU CHIA-NUOH continually interrogates painting’s three core questions: the construction of pictorial illusion, the presence of painting in space, and the physical reality of the canvas as an object.