Ke Jipeng's abstract paintings show a similar artistic appeal to the Ink Layering of the traditional Chinese painting, which is both a form and an action. Using only two black and white colors and two brushes, Ke Jipeng draws lines over and over again, and through the countless back-and-forth labour of his "inactive" hand, the original fixed-size canvas boundaries seem to be in the midst of an extended and expanding movement, with the two-dimensional flat picture extending into three-dimensional space, forming layers of texture of varying degrees of thickness, which look like traces left behind by time. Gazing at the work with bated breath, one could perceive the "shimmering light in the darkness", and it seems that everything is silent, as if time had stopped, and the self was hidden in Nothingness, so as to “illuminate and see the emptiness of the five aggregates”. 

Sansheng insists on being creative between design, aesthetic, and fine art, who has been putting in his effort for 20 years, resulting in the condensation of works that integrate art and life. Sansheng’s “Conscious Ego” series is “going with the heart, being delightful in the art and living endlessly”, he applies lacquer material layer by layer, and the folds that appear after drying and the copper dots scattered on the surface of the work resemble thousands of mountains and valleys, as well as the moon and stars. The creation of a single piece of work goes through the process of base making, lining, scraping, painting and polishing, which is repeated repeatedly, the touch between the body and lacquer seems to convey a kind of free spirit between heaven and earth, and achieve the so-called “Life is the reason for art” value embodiment.

Sun Yu chooses ceramics as the first medium for her creation, expressing her thoughts on the present directly in visual language, and intentionally pulling apart the difference between art and craft, revealing the inner logic of her works in a form that is always pure. The forms of her works are mimetic, between reality and surreality, which look like abstracted hands. The gold colour at the tip of the clay resembles an eye, symbolizing the spirit of an enlightened person. And the gold colour at the tip of the clay-strip represents the light of wisdom of all beings. These strips of clay are like spiritual tentacles grown from the traditional oriental cultural deposits, and are also like the germs breaking through the soil of contemporary art.

The works of the three artists give rise to a sense of tactile synesthesia, as if the human sense of touch was transplanted onto the surface of the works, completing a certain inner spiritual link through touch points or lines. Through the artists' hands, these dots or lines transform the oriental spirit embodied in traditional media into a contemporary expression with a forward-looking spiritual direction, and at the same time provide a perspective and a pathway for viewers to enter the works, wandering in the vast and deep oriental spiritual world, appreciating the scenes with a pure mind and daydreaming about the future.