Ho Kan integrates Eastern calligraphy and the art of seal carving with a minimalist yet poetic visual language to develop his distinctive, Eastern lyrical abstraction. He starts with elemental points, and, from them, he creates his own philosophy about the arrangement of the image, validating the existence of each element.

Lee employs signature techniques such as “piercing” to break open the closed structure of traditional sculpture, creating a distinctive formal and conceptual language of emptiness. His works embody an “Eastern void” where self and object dissolve, offering not only profound aesthetic value but also a contemplative reflection on the human condition, imbued with contemporary social relevance.

Lu's artistic practice has been profoundly shaped by the socio-political transformations of Taiwan. Across decades, Lu's art has consistently centered on the human condition, whether through urban structures, symbolic objects, or natural imagery. His stylistic trajectory has progressed from fierce critique to a balance of reason and emotion, incorporating diverse techniques and cross-media experiments. Through his practice, Lu engages with the pulse of society, portraying the evolving cultural identity of Taiwan.

Through layered paint and spatial composition, she creates an interstitial “complex space” between abstraction and representation, unifying fragmented perceptions and memories into a coherent temporal and spatial field. Unlike Western landscape painting, which often emphasizes visual representation, her landscapes convey a distinct Eastern perceptual and emotional sensibility.

Chen is one of the leading contemporary figurative realist artists in China. In recent years, his Blossoms of Life series marks a shift from classical realism to a more symbolic and spiritual language, blending Eastern mural and Thangka traditions with Western Impressionist sensibilities in color and line to evoke themes of life energy and maternal love.

Chang uses her individual linguistic system to embed a series of hints and clues in hand-written scrolls and manuscript fragments displayed in the cabinet, performing an invocation ritual through a pseudo-antique style and telling the history of people warring for the Aura stone.

Lu’s works are primarily based on animal forms, using transformations of biological shapes and various partial alterations to present a unique aesthetic of free and organic growth. Her pieces often combine mutated animal figures with human characteristics, depicting the appearance and posture of animals while reflecting an internal emotional projection.