Luo Min innovates within the traditional painting genre of flowers and insects. Similar to the “eight broken” painting tradition used in China since the mid-19th century, this work presents a montage of painting and calligraphy that are cut off and pieced together on a floral background that resembles a photo book. This is inspired by Luo’s mother’s working experience in a state-run photo studio, where she developed her habit of collecting her family’s photographs. Montage is thus not just a tribute to China’s artistic traditions but also a gesture to remember the fleeting details in everyday lives. Elements such as insects, birds, and flowers that are often ignored are presented here with a withering blurriness symbolizing the occurrence and disappearance of beings over time. This is further emphasized by the rough and diverse visual qualities of the paper. Luo collects old papers in her spare time, and by painting on them, cutting them, and piecing them together, the image can be transformed into an archaic codex filled with organized but undecipherable information that stands in the middle between articulation and ambiguity. Such narratology resembles a personal anecdote, in which the story is told with tenderness and intimacy, yet reserves the minute details and emotions behind a veil that the listener can never reach. Such a method of painting results in a personal contemplation on the past, which is reorganized, changing weights in her memory, and getting conjured by symbols in the form of random daily encounters.

罗敏在传统花鸟题材中寻求创新。与晚清时兴起的八破画形似，这幅作品是一个书法与绘画的蒙太奇。现成的作品被裁剪拼贴在花卉背景上，如同一本老式的摄影集。这种形式受到罗敏母亲人生经历的启发。罗敏的母亲曾在四川的一家国营照相馆工作。在那里，她形成了收集并保存家人照片的习惯。罗敏作品中的蒙太奇手法于是就不只是对中国艺术传统的致敬，而更是对日常生活中易逝瞬息的珍存。

草虫、鸟类、花卉等在生活中常被忽视的存在在此处被呈现于一种模糊的凋零感中，象征着事物在时间维度上出现又消失的自然规律。这种表达被罗敏用纸的多元观感进一步强调。罗敏在她的闲暇时间热衷于收集旧纸。当艺术家在这些纸上画画、剪裁它们、把它们拼在一起的时候，这些缤纷的图像就变成一本古朴的手抄本，充满了整齐但无法解读的信息，处在清晰直白和含糊隐晦的中间地带。这种叙事方式类似一篇自述，以温柔且亲密的语气讲述个人经历，但是对真正的细节和情感又有所保留。这种创作方式使个人展开对过往的沉思：记忆中的过去被重新整理，重要性被不断改变，并且记忆常常被日常生活中偶然遇到的以象征形式事物唤起。