在郑政煌的【窥天】新系列作品中，某种空间的转折，似乎为区别后现代与现代主义提供了有用的方式。此区别存在于时间和空间的相互关系的两种形式之间，而不是存在于两个不能区别的范畴之间。此特殊大转型即时间之被替代与时间之空间化，其初步探索经常借著一种失落感来记录它的新奇性。

此新空间美学和气存在性的生命世界的任何具体解说，都需要一些中间性的步骤，或以往辩证所称的中介（mediaion）。后现代的空间化，已经在各种空间媒体的关系和并存的异质力量之中进行了，我们再次可以将郑政煌的【窥天】空间化，说成一种传统精致艺术被媒介化（mediatized）的过程。

郑政煌早期的作品那一种对社会批判性的作品，是从物质的肯定来看待人世间的事物，他慢慢的演变从外在物质的诘问往内对自我内在的剖析的变化过程，如今可以见到物质意义的逐渐剥离，回到一种幽微更具想象力的心灵世界。

【窥天】所使用的墨色是由墨粉及水所组合而成，此原生材质具极大的包容性，混合而成墨色的水溶性，是与人亲近而无破坏性，它不似油画使用油性材质的具攻击性及破坏性，墨色及纸张、木板的运用，反映了中国文化中的包容、隐喻、退让、自省等文化精神，这是画家细心观察体验而将之转化成艺术语汇内涵。

此外，郑政煌使用水墨的技法，却结构出西方式的图像及视觉经验，但表现出东方文化精髓的觉受，两种文化的相互穿插交融。在图像上我们见到米老鼠、凯蒂猫、人物、石头、鸟、粪便等西式的图像样式，这样的视觉图像却被水墨及木刻所同意起来。他作品里所呈现的是一种既非传统水墨视觉经验，也分单纯的西式图像的挪用及思想的套用的水墨意向。

——曾长生

Cheng Cheng-Huang’s new series of works “Tunnel Vision” seems to have offered, via transitions of spaces, a useful differentiation between post-modernism and modernism. This differentiation exists in the two types of interrelations between time and space, instead of two undistinguishable categories. This unique great transformation is namely the replacing and spacing of time, whose novelty is often recorded by way of a sense of loss in its preliminary exploration.

Any substantial interpretations for this new space aesthetics and its existential world need a few intermediate steps, or “mediation” in dialectical terms. The post-modern spacing has long progressed in the interrelations among various space media and their co-existing heterogeneous powers. Therefore, we can view the spacing in Cheng Cheng-Huang’s “Tunnel Vision” as the process of a traditional fine art being mediatized.

The socially critical works from Cheng’s early days treated worldly objects from the viewpoint of material affirmation. He has slowly evolved from questioning external objects to analyzing the internal self. We can see material meanings being fradually stripped, all the way to the core of a dim and more imaginative mind.

“Tunnel Vision” uses ink colors from a combination of ink powder and water. This prototypical material is, being a water-soluble ink mixture, extremely inclusive. It is intimate without being disruptive, unlike the aggressiveness and offensiveness of oil-based painting materials. The usage of ink color, paper, and wood reflects the spirits of inclusiveness, metaphor, concession, and introspection in Chinese culture. Those are the essences of artistic lexicon transformed via the artist’s close observation and experiences.

Moreover, with ink painting techniques, Cheng has constructed Western-style pictorial and visual experiences, while expressing the perceptions of the essences of Oriental culture, resulting in intersection and interaction of two cultures. We see the Western-style images of Mickey Mouse, Hello Kitty, humans, rocks, birds, and excrement, all of which are then unified by ink and woodcuts. His works demonstrate a visual experience of non-traditional ink painting. It is not a simplistic appropriation of Western images, nor is it just an application of ink painting ideas and thoughts.

------By Pedro Tseng