Born in 1981, Wang Tingyu was awarded the first prize of both the Kaohsiung Award 2010 and the Taipei Art Awards 2008. His works are infused with images of the universe, myths, and ancient civilizations, and he uses unique creative techniques to reflect his observations of the contemporary era. Therefore, his works often prompt philosophical thinking among viewers. Po Chiao Ling graduated from the MA program of the Department of Painting and Calligraphy Arts of the National Taiwan University of Arts. She received the "Kaohsiung Award 2016" and the "HCS Special Award for Calligraphy/Seal-engraving Works." She is a co-founder and current chief editor of QianYin. The works exhibited this time closely align with the theme of "Farewell," subtly conveying a sense of melancholy. Po Chiao Ling employs stone rubbing techniques, assembling and combining different eras of xuan paper. Through her calligraphy and seal engraving, she expresses the cultural depth embedded in her works.

The exhibition title "Various Solemnity" is derived from the 15th scroll of the Flower Adornment Sutra, which states, "In all these realms, various solemnity are created according to the thought of the assembly." It originally describes an indescribable world where colors constantly change based on the collective thoughts of individuals. In "Various Solemnity," each work intentionally leaves blank spaces and employs a unique "layered line drawing" technique to create rich detailed textures. This invites viewers to interpret and imagine, achieving the goal of "shaping endowed with color." In the background of the work, a layer of pigment is used as the base, which is then overlaid with color after transferring, to hide the brushstrokes and, simultaneously, to hide one's emotions in the illusion of the image. Following the artist's previous creative context, images are carefully selected through searching with an image online, arranged, and laid out meticulously. This allows existing images to convey contemporary perspectives. Under the mixing influences from modern digitization, globalization, and technological advancement, we are often surrounded by vast amounts of information, and the artist aims to use the techniques of "de-visualization" and "anti-adherent imagery" to articulate the core value of "seeking the essence of things." The intricate details and rich layers in the works provide viewers with infinite space for contemplation and interpretation.

The composition of “Rain of Peaceful Absence” draws inspiration from the constellation Corona Australis. In Greek mythology, Corona Australis is the crown that fell to the earth from the constellation Sagittarius. On the right side of the artwork, a deity, half-human and half-horse, holds a taut bow, pointing toward a large, uncolored wreath on the left. The background features a map covered by colorless rain threads, symbolizing the ubiquitous rain of images. At the center of the rain threads is a pure blank space, much like a stone cast by God into the network of the starry sky. The gravity sinking into the void triggers this rain of images. Implicit in the blank image within the rain threads is an elf like a Pokémon, deliberately left blank by the artist. This blank space, akin to gravity sinking into the void, serves as a deliberate highlight. It intricately ties in with the exhibition title “Various Solemnity” The centaur symbolizing the pursuit of truth and wisdom aligns closely with the artist's intended philosophical values in this exhibition.

Each of Po Chiao Ling's works integrates "poetry" and "seal engraving." In the majority of the inscriptions within her works, the seals are meticulously carved by the artist herself, drawing inspiration from the renowned Ming dynasty collector Xiang Yuanbian's collection of seals. For instance, the frequently used "exquisite item" in her works, often employed as a preface, finds its creative origin influenced by Xiang's held “seal of the emperor." This is the artist's affirmation of her work. The inscriptions and seals in her works, aside from their practical and decorative aspects, carry the significance of transcending time and space. Through the technique of rubbing, the artist collages, combines, and reproduces different generations of xuan paper. Viewing her works is like viewing historical artifacts. The content carries themes from contemporary songs, classical Chinese poetry, the Yuan dynasty qu, etc., profoundly embodying and threading through the theme of "Farewell." This integration of "poetry, calligraphy, painting, and seal" echoes the sentiments of literati across history and reflects the contemporary context, creating a seamless connection across time and space.

The first four lines of the work, "At first hearing, the meaning of the melody is unknown; upon a second listen, one becomes part of the melody. Thoughts of yearning within the melody linger now, but the one I dreamed of from the past is no longer here," are drawn from a widely circulated online article. Whether inspired by the story of Rene Liu's "Later" or the ode to Leslie Cheung's portrayal of Cheng Dieyi in "Farewell My Concubine," these lines vividly depict profound memories of the past and the longing for those who have passed away. The following two lines, "Many say that if life were only like the first encounter, fearing that upon meeting again, we might feel like strangers.," include the phrase "if life were only like the first encounter," from the famous Qing dynasty poet Nalan Xingde. It narrates the beautiful impression of the first encounter in life, while the implicit "meeting again is like the first acquaintance." Somehow it subtly expresses gratitude and this reflects the complex emotions brought about by the passage of time and changing seasons. The artist skillfully combines feelings of separation across different backgrounds of time and space, allowing the same melancholy to linger in the hearts of the audience. The seal "Wai Hu Storage" on the side of the work is derived from Xiang's collector’s seal, "Tianlai Storage." The characters "Wai Hu" come from the artist's two pet cats, "Wai Wai" and "Xiao Hu," serving as the origin of this collector’s seal. The artist's work, in both content and composition, ingeniously integrates elements from the past and present. Connecting fragments of time through the sentiment of farewell, it resonates with the artist's statement, "In life, the most bitter thing is to bid farewell." This deep emotion is a universal human experience transcending time and culture.