The world presented in the art of Yu Peng is generally full of romantic contemplations that are, to a certain extent, autobiographical or self-fanaticising in nature. Indeed, there are many hints at erotic-provocative, voyeuristic plots. The reason the artist provokes a sense of dramatic irony in those viewing his work is chiefly because the pieces almost seem to be auspicious landscapes, presenting an illusive picture of peace and prosperity. This in turn works to highlight the way in which such images are completely at odds with the reality of violence, murder, material gain, anxieties and divisions we find in our real society. Those who know Yu Peng know that he has serious motivations behind his creations. Whilst the garden landscapes he depicts contain a certain degree of realism, their narrative nature means they are mixed with a high degree of fantasy, and methods that seek to go beyond or repudiate reality. In fat what he really “represents” are not the landscapes of the past, in which one can lose oneself. His works are actually representation of a subsidiary refinement and pretentious nostalgia in taste, unique to the middle class in modern Taiwanese society or himself.