#視線
許仁蕙的《玻璃》系列是她對於玻璃後方世界的想像，描繪出透過濾鏡般所見的自然或人文景觀；《大肚山的黃昏》便是依此述說著她自身望向故鄉海景時的悸動。當望著這些以半立體的線條將畫面分割成的細小幾何方塊時，所感受到的似乎已是我們自身腦海中的投影。戈羽彤的作品常自文學、宗教與非主流電影提取元素，藉此構築尋找與快節奏社會反向的心靈平靜。她的複合媒材作品《沉浸於藍色之中》特別強調人物的眼神，使其成為像是與觀者身處世界的連結點，引導著觀眾進入她所建構的看似平靜卻又有些不安定的空間。奉威旭的油畫系列《千植萬語》認為每個人都有不同聲音，卻常因社會觀感而選擇說或不說。《何處之向》表現出在黑暗中打閃光燈進而捕捉的定格瞬間，人物目光注視漆黑的畫面，茂密繁盛的植物彷彿暗示了人們沉默的心聲。

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#Sightline
HSU Jen-Hui's "Glass" series is her imagination of the world behind glass, depicting natural or cultural landscapes as seen through a filter. "Twilight of Dadu Mountain" tells of the emotions she feels when looking towards the seascape of her hometown. When gazing at these images divided into small geometric blocks by semi-3D lines, it seems as though we are looking at projections from our own minds. KO Yu-Tung often draws elements from literature, religion, and non-mainstream films to construct a sense of inner peace that contrasts with the fast-paced society. In her mixed-media work "Immersed in Blue," she particularly emphasizes the eye of the character, making it a connection point to the viewer's world, guiding the audience into the space she has constructed that appears calm yet slightly unsettling. FENG Wei-Xu's oil painting series "Thousands of Words" believes that everyone has a different voice but often chooses to speak or not speak due to invisible mainstream pressures. "Whither" captures the moment with a flash in the dark, with the character's stare directed towards a pitch-black scene, and the dense vegetation suggesting the unspoken thoughts of people.