ZHANG Peiyun specializes in using minimalist lines and contours in her paintings, but her goal is not just to test the boundaries of contemporary art language, but also to investigate how a classical sense of order can be embedded underneath a contemporary sense of form. Under close look, the colours and contours of the plant forms and the conductor's hands depicted by ZHANG Peiyun can be faintly discerned under the flat, dragged, covered, or translucent white brushstrokes. The "white" in the sculptures is richly and delicately coloured by the shapes, cracks, roughness, and smoothness of the surfaces under the light, and the similarities and differences between them highlight the relationship between "the many and the one" in the works - the richness of form, material, and texture and the overall Aura and rhythm of the works. The artist's works resemble plants in the garden, perched on a wooden stand with unique form and quality. The delicate, firm, and pure white texture of the works, given by the characteristics of the material, is accompanied by a large amount of "white" in the overall space, and the symbolic way of imagination transforms the real and natural forms.

章佩芸的绘画擅长运用极简的线条与轮廓，却并非简单地操练这种当代艺术的语言规范，而是旨在探索如何在当代的形式感之下蕴藏古典时代的秩序感。她的《在园中》系列平面作品，近观之下依稀可辨被掩藏 在平涂、拖拽、具有覆盖力、或半透明的白色笔触之下由她所描绘的植物外形及指挥家手的色彩与轮廓，穿插于平面作品中的雕塑由白色水泥形塑而成，雕塑中的“白”在光线下被起伏、龟裂、粗糙与光滑的表面赋予了丰富且细腻的色彩变化，彼此间相似又相异的特征凸显了作品中多与一的关系——形式、材料及肌理的丰富性与作品整体光韵、气息间的融合。