陳建榮的創作試圖描繪自己理想中的建築性空間，不受限於建築成規，只順服於個人的想像力。藝術家在作品裡描繪出腦海裡所預見的景像，與其形塑出之情境。其中除了少數作品植基於具體的城市場景，其餘大多是創作時憑空杜撰出的結構體，或者幾件形似房舍的雕塑，甚至真的取自某些藝術家作品的形體。儘管建榮的創作總是誘惑著觀者從中「宛若看見」城市文明的圖像，但這些建築性空間與其說是繪畫母題，毋寧說是一個繪畫語言上的起點。這些作品進行的方式，常常是陳建榮創作時拿著尺與筆在畫布上直接開展出造形，並隨時塗改或重構，實際上並不存在著太多計畫性考量。於其中，繪畫過程裡手的動作對於工具（拾得的木條、刻度模糊的尺規、反覆使用的遮蓋膠帶等）之倚靠或是模擬，對於藝術家是很重要的特質。
在陳建榮許多作品裡所呈現的，多屬於素描特質強烈的結構空間，可視之為一種經由建置/拆解、繪製/塗銷的行為過程，以及其伴隨之痕跡產物。這具現了一個趨近於建構、抽離與還原的反覆循環，塑造出來的，為畫面上一些具可能性的空間體。作品的畫面以盤據的姿態大方的出現於畫面中的各個位置，型態雖具體，或為扁平、或開闊，或透空、或密實，表露出的意義卻多半不確定。唯一較有可能的共通點在於：並不一定有實際的功能性可言。作品的呈現比較像提供了某些特殊的視覺場域，無論讓觀者進入或退出，短暫的停佇，一種傾向凝滯，卻又似乎蓄勢待發的狀態。

Chen Chien-Jung’s art practice attempts to paint ideal architectural spaces drawn from his imagination not restricted by established conventions of construction. The works feature scenery that the artist has foreseen and the situations that play out there. In addition to urban scenes, most of Chen’s works present structures created while painting or sculptures shaped like houses, or references to shapes by well-known artists. The works allude to images of urban civilization and uses architectural spaces as a motif, or visual language. Chen uses a ruler and pen to draw shapes that he then sporadically alters or reconstructs. The compositions avoid excessive pre-planning, retaining an organic painting process that allows the motion of the hand to provide vital engagement, while introducing the use of everyday objects as paint tools such as disposable wooden sticks and masking tape that can be used repeatedly.
 
Many of the works present characteristic spatial structures that can be seen as byproducts of the construction/deconstruction and drawing/erasing process. They are shaped from the manifestations of a cycle of construction, detachment, and restoration, forming a spatial entity that holds many possibilities. They appear in the shape of overbearing forms and evoke a bold presence throughout the entire image. Whether concrete, flat, spacious, hollow, or dense forms, the meanings they reveal are ambiguous in nature. The only possible common point lies in not necessarily having any practical function. The presentation of the work provides a type of redefined visual realm. Entering, existing, or visiting temporarily, viewers will sense a tendency to stagnate, yet at the same time, a state of momentum. 

《紙人展與新興糊紙店》是藝術家張徐展為期數年的大型偶動畫創作系列，內容圍繞著家中百年紙紮民俗手藝的"新興糊紙店"，與之成長及時代的記憶與經驗。張徐展在新作『紙人展與新興糊紙店系列-靈靈肆《Si So Mi》』中，編織了一支舞蹈，並翻唱一首德國詩歌「Ach wie ist's möglich dann」*，影像於這首歌的時間軸線裡映照著自我的鏡子、生日用的派對道具、亡靈的同歸所、叢林演奏的喪葬儀隊，以及一本瀰漫著存在主義邏輯的荒謬日記。內容關於那些被晾在城市裡乾扁、卑微的動物，述說他們對自己生命的描述，同時思考著死亡與存在。
本作品也已獲邀將於4月份在韓國首爾國立當代藝術館(MMCA)展出。

* 「Ach wie ist's möglich dann」(How can I leave thee)（中文也翻譯為「我怎能離開你」，英譯為「真實的愛」(treue liebe gedicht)），在台灣的民間流傳這首歌的前三個音"Si、So、Mi"，成為當年西樂隊後來傳入台灣，用來被當作避諱講述跟死亡有關葬禮儀隊，而稱呼的喪葬儀隊代稱，相對於這首歌在1935年的德國文藝片本身被配樂於愛情電影的身世，意義上形成了有趣的對照。
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Zhang Xu Zhan's  Hsin Hsin Joss Paper Home Series is a large scale animation series spanning over a number of years, centering on the artist’s family home that also functions as a business, called the ‘Hsin Hsin Paper Sculpture Store’. With over a century of history in the craft of making traditional paper sculptures used in religious ceremonies, the series is interwoven with the artist’s memories and experiences of growth and the passage of time. In his new work ‘Si So Mi’ Room 004, Zhang Xu Zhan choreographs a dance performed to the German folk song ‘Ach wie ist's möglich dann’*. The imagery portrayed unfolds in time with the song, revealing a mirror’s reflection, items used for a birthday celebration, the dwelling place of spirits, a funeral band performing in a forest, and an obscure diary filled with the logic of existentialism. The work centers on the lowliest of animals, dry and squashed flat, neglected within the city; humble mice revel in a celebratory dance, telling the story of their own lives while examining the relationship between life and death.
Si So Mi - Room 004 will be exhibited at the National Museum of Modern and Contemporary Art in Seoul, in April 2018.

* “Ach wie ist's möglich dann” (How can I leave thee), can also be interpreted as “true love”. In Taiwanese folk culture the song was often performed at funerals, marking the era in which Western instrumental bands were introduced into Taiwan. The first three notes of the song ‘Si So Mi’ became synonymous with funeral bands, an amusing and stark contrast to the song’s use in the 1935 German literary film as the soundtrack for a love story.

許尹齡開始想創作關於記憶的主題，是從2015年的年節開始，當時許尹齡外婆已患有輕微的阿茲海默症，思緒與記憶的混亂讓她多半時間都是沈默寡言的，雖然她外婆做了很多關於阿茲海默症的預防跟治療，怕失去生活自理能力，怕失去對周遭環境的認知，但其實許尹齡下意識在逃避的恐懼是，哪一天身為家人的他們會從外婆的記憶裡消失，然後永遠失去一種無可取代的存在感。原來人類終其一生在追求的存在感都是從記憶而來，不論是個人的情感記憶還是大環境的歷史記憶，它們都會因為存在感的需求產生不同程度的變異，這讓許尹齡想挑戰用不同的繪畫形式將她記憶中每個渴求存在感的片刻記錄下來，它會是屬於精神情緒的、身份認同的最直接感受。藝術家開始嘗試使用紙上油畫的方式做為這系列的繪畫形式，當油彩在紙材上時會失去油畫可不斷堆疊覆蓋的特質，也會同時失去紙的纖維讓水份暈染的效果，這樣它就會記錄作畫過程中的每一個筆觸，失誤的、準確的、果斷的、猶豫的。就像記憶在腦裡如碎片般的存在，很沈重很真實卻又帶有虛幻模糊幾乎要消失了的樣貌。許尹齡希望這次創作系列能讓參觀者好好看看我們共同記憶著的這個大環境，然後跟過去的自己說聲辛苦了。

In 2015 Hsu Yinling began to think about the theme of ‘memory’. At the time Hsu’s grandmother suffered from mild Alzheimer’s disease, and spent most of her time in silence, her confusion of thoughts and memories causing her reluctance to speak. While her grandmother feared the loss of her ability to take care of herself and the failure to recognize her surroundings, Hsu realized that the inescapable fear for her family was that one day they will disappear from her grandmother’s memory, forever losing an irreplaceable sense of existence. It is within memories that humans find the sense of existence we pursue throughout our lives. For this new series Hsu explores the use of oil on paper to record the moments in her memory that seek to form an existence. As the oil paint spreads across the paper, it loses its particular ability to be repeatedly layered, while the paper loses its affect of evenly spreading out moisture. This process records every brushstroke; the precise marks as well as the mistakes, the decisive as well as the hesitant. The works contain an immediacy that connects to a psychological and emotional identity. Like pieces of memory whose appearance is both a heavy burden that is vividly real, yet at the same time illusionary and almost fading into non-existence. Hsu hopes that this series can allow viewers to look back on our shared memories and give a word of gratitude to our past selves.