The major feature of Chuang's work is that he traces back to the Chinese ink technique from the National Palace Museum collections, and apply to western modern painting theory, he intentionally infiltrates the brush strokes from Chinese paintings into western paintings, thus the eastern and western integrates beautifully and this becomes his unique artistic language. From an artistic point of view, eastern painting and calligraphy embraced resolute and mild, sparse and concentrated, ying and yang, dense and pale, wither and moist. Chuang is an artist who emphasizes the brush strength through the Chinese book and script style of writing, representing the landscape of the nature; as an effort to return to the primitives of the calligraphy.

In the 1960s, the artist applied traditional Chinese calligraphy characters onto his canvas while integrating ink and wash, collage of canvas and Chinese paper to create his importance of experimental creation. Hence, the works during this period often disclosed a poetic transformation of visual images. Chuang focused on the poetic abstraction and visually and physically refined the strength and the flexibility of paper texture that he applied on canvas. The artist though practiced the western painting methodology on his works, the space and the composition he built on the canvas still faithfully developed the oriental spirit which originated from his inner culture. To deconstruct the landscape of reality, the natural spirit and the dialogue between human and history remains in Chuang’s philosophy of art.