Yau's latest series, "Meta," making its debut at FQM Fine Arts, reimagines the transitions of the human milieu and the alternation of time and space. While the title "Meta" may suggest a connection to the metaverse, linking the works to the swift rewriting of information and the ambiguity between virtuality and reality, Yau places more emphasis on the original meaning of Meta — "beyond." Employing more than eight different styles to depict the same scenery, he seeks creativity within repetitiveness. With each variation, the growing proficiency draws the artist closer to the landscapes, forging a symbiotic relationship between subject and object, blurring the line between the present and the past. Yau contends that the dichotomy between tradition and modernity is merely a human construct, yet the fluidity of culture and identity can often transcend such seemingly rigid categorization, allowing the current state of mind to engage with the timeless essence of the Chinese landscape art tradition.

首次在FQM空间亮相的新系列「Meta」则是对于时代变迁，时空更迭的想象。近年"Meta"与元宇宙的关系紧密，这一系列作品也映射着虚拟与现实的重叠、信息的快速篡写。但邱荣丰并不以此作为思考方式，而是更关注"Meta"的本意，即“超越”。

通过以八种不同的技法描绘同一景色，他持续地重塑着国画山水。每次变化带来熟练度的递增，使得山水作为一种传统文化产物不再与现代的作者形成两两独立的关系。重复的过程逐渐脱离了理性且客观的分析，客体与主体开始交流，山水意象与自我进入拉扯的状态。「Meta」这一系列记录的是邱荣丰以当下的视角和体验与传统语境所作的交涉。在邱荣丰看来，传统与当代不过是人为定义，文化和意识形态的流动性往往可以超越时空的界限和语境的变迁，山水情怀在无形之中融入当下心境。