There are many objects collected by Kuo Wei-kuo at his studio, such as withered branches, broken toys, red ribbons, dried flowers and feathers. These props often appear in Kuo’s works in actual size. With the artist consciously and unconsciously positioning those props, symbols and metaphors flows freely through those paintings.

Kuo’s works straddle between realism and classicism but cannot be easily classified. However, can those works, comprising surreal topics and the artist himself who narcissistically plays various roles, simply be channels for Kuo to explore his inner wounds and pleasures? With the end of the “Diagram of Commotion and Desire” and “From Gloominess to a Brand New Bright Start” series, Kuo entered another mysterious realm he fabricated, in where we found the “real” himself of KOU. In the atmosphere he created on the canvas, we see the conflicting between the inner conscience and the actual world where the artist is in. And the serval objects in KOU’s paintings may symbol the unfinished journey of KOU’s self-atonement, at the same time, those objects somehow reflect the regrets and the sorrows that he kept longtime on his heart. KOU once said that the fish and the dried flowers symbol his mother. In the painting, KOU plays a female –like appearance and we don’t konow whether KOU yearns for his mother through the art he created, or to mourn something he once regretted, however the viewers get to discover and to peep the inner world of KOU, relying on these obscure metaphors. KOU baldy scrutinizes the “darkest” and “truest” innermost being while allowing the viewers to examine his wounds and traumas. At the time KOU tries to comfort his inner wounds and self-recovering, the viewers get to explore his truest innermost world more.