Yau’s ”Looming Sceneries“ series continues to evolve, showcasing his boundless artistic approach. He transcends traditional boundaries, blending detachment and connection, fragments and wholes, to create a seamless visual language. Yau‘s artistry lies in the fluid interplay between individual elements and the collective image, often starting without a fixed plan and letting the artwork unfold naturally. This open-ended method enriches the viewer’s experience, inviting them to explore the artwork without a prescribed path.

Yau‘s mastery in brush and ink breathes life into his paintings, capturing the essence of landscape art while infusing it with a deep sense of space and time. His unique techniques, including wet-crumpling and ink accumulation, conjure misty scenes and streaming waterfalls that seamlessly blend into rugged mountains, enhancing the overall harmony of his works. These landscapes invite viewers on a spiritual journey, moving freely between detailed vignettes and vast panoramas.

随着「若境」系列的发展，邱荣丰的创作越来越自由。经过不断反思个人的视觉体验，这样解构时间和空间的方式也逐渐被内化，理念上也慢慢脱离了割断与连贯、局部与整体两极对立的关系。保留单元化的构图逻辑的同时，他在创作过程和作品中更深入地体会个体与整体之间的流通性。

邱荣丰不从某个固定的格子开始作画，有时甚至不记得画面发展的始末，因此对于观者的观赏体验没有先入为主的限制，也不为视点的游移制定顺序。同时，创作之初，邱荣丰并不带着预设好的构图落笔，而是在运笔过程中让图像自然生长，画面的伸展不只是机械地由分割的片段规律组建，而是由内而生，有机地自行抒写。由此展开的画卷是对山水画视觉结构的融会贯通，对于四方上下、古往今来的进一步理解。

同时，邱荣丰更是运用笔墨之法贯通画面，探索空间连贯又暧昧的关系。他的创作讲究用笔功夫，运笔的笔势、执笔的平衡、落笔的刚柔让他能够淋漓尽致抒发兴性的同时，充分发挥笔墨本身的的线条之美和扎实功底带来的韵律。湿皴法辅以积墨法，邱荣丰在屏息凝神间细致地控制笔下水流和色粉的分布，留下的肌理晕染出云雾飘渺水流涓涓，交织于山峦矾石之间，模糊观者的视线。这些云烟补充画面单元过渡瞬间的真空，使整个画面各部分相互协调并产生共鸣，单元之间气韵相通。观看如此图景不限于一时一地的“目之所及”，而是随神而游，酣畅淋漓地漫游于细腻小景与宏观大景之间。