In the seven paintings that make up his Meditation series, Arnold Chang gives up conscious preparation, composition, and color theories, and paints by allowing his hand to swim carelessly across the paper. Chang’s approach resembles a myth mentioned by great writers such as Fernando Pessoa and William Yeats, that the human mind is able to reach a certain state, when the subconscious or unconscious takes over the mind and enters a state of automatic writing, or “psychography.” Widely practiced by and associated with witchcraft, spiritualism, and Zen Buddhism, psychography has long been regarded as some sort of magic.

In theory, painting without your mind as the director can easily result in a mess; yet Chang’s image is figurative in a way: the strokes and swirls interact with the colors to produce a consistent tone. However, when the eye tries to sort out a recognizable shape or pattern in the image, it finds itself lost in the strokes’ dynamics, returning to the starting point in an effortless flow. In such a viewing process, the artist transports the audience to an elongated time and space for meditation, releasing the mind and allowing the unconsciousness to move in the same motion as the painting’s creation.

在張洪《冥想》系列的七幅作品中，他不再在创作前进行有意识的准备，也不在创作中考虑构图或是色论，而是让他的画笔随性地游过纸面。張洪的创作方法近似于“自动书写”。这种创作方式几乎是文学界的一种神话，许多作家都渴求以自动书写的方式创作，而诸如葡萄牙诗人佩索阿、爱尔兰诗人叶芝、中国作家残雪等人都曾以自动书写的方式创作。自动书写需要创作者的主观意识停止指导创作，转而由潜意识和无意识代替创作者的心灵，将更深层次也更真实的情感充分且诗意地表达。

理论上来说，脱离主观意识的创作应该只能产生一堆混乱的图像。但張洪的图像在某种程度上是具象的：笔触和漩涡状的动态相互交融，和色彩一起创造了一种统一的调性。但当双眼尝试去找出一个形状或规律时却又会迷失在笔触的动态中，渐渐回到观看开始的地方。在这样的观看过程中，观者被艺术家带到了一个延长的时空，解放意识，让无意识随着画的创作过程流动，进入冥想的状态。