In Hazy Cliff II, Yau Wing Fung works on delicate cicada paper that has been rinsed before painting, allowing ink to move freely across the absorbent surface. Using the traditional techniques of broken ink (破墨) and splash ink (泼墨), he creates a hazy atmosphere in which forms appear and dissolve. Wrinkles in the paper and visible fibers catch the ink, drawing attention to the painting's physical surface and the process of its making.

Cloud and water, both lacking fixed shape or scale, merge into one another so that the viewer can scarcely distinguish sky from reflection. This ambiguity softens spatial depth and encourages a slower, more attentive way of looking.
Rather than describing a specific landscape, Yau suggests an imagined space through gesture, ink washes, and shifting tonal fields. Rocky forms emerge through layered smudging and brushwork, allowing the painting to unfold gradually as a quiet field for contemplation.

在创作作品《蜃壁II》时，邱荣丰首先将蝉衣纸洇湿，然后以破墨和泼墨的方式在纸张正反面都进行湿染及擦染，描绘出水气氤氲的效果。蝉衣纸薄而透明，经托裱后，画心背面所画的烟云会在画面正面隐约浮现，如同隔着一层水雾。由于云和水都没有固定的颜色、形状和体积，观者难以明确辨认画中天空与水面之间的距离，画面中的空间因此趋向平面。这张作品中，邱荣丰用笔墨呈现山石的质感，在笔触的连带关系下，每笔之间的转换都表达着当刻的内在精神和感受，弱化了对于整体画面结构的注重以及使用染色的方式。画面中山石的肌理，穿行于氤氲的墨色之间，使画面在虚实交替中形成一种动态的视觉感官。

邱荣丰
蜃壁 II，2022
水墨设色纸本
24 5/8 x 24 5/8 英寸
62.5 x 62.5 厘米