Due to advances in technology, people are able to accomplish many things faster. Doing things faster means that people lose patience with the slow pace; enjoying convenience implies of overlooking the pain of inconvenience. Because of his illness, Chung-en Hsu has deviated from the educated and socialized norm, falling from a fast-paced world into a lento, repetitive, and self-talk process. Gradually he feels that in the realm of interpersonal relationships there is a lack of connection and a sense of distance—a huge gap which is not easy to leap across with language or writing.

Chung-en sees vessels as a metaphor for human beings. When vessels are broken, crack, and are unable to be used freely, they will be put into a dark corner, waiting to be repaired or disposed of. In modern times, men and women unceasingly fill themselves with knowledge, ideas, and skills, in order to feed themselves or others. Yet they are vessels which can never be filled up. They all have a crack in their heart; they are missing the pieces of love and thankfulness. Negative elements poured in from outside are too heavy to hold. Those negatives eventually settle to the bottom of the vessels, hiding one’s true self and a way out. The media, entertainment, and illusions have cast a mist before people’s eyes, stealing their time to look at themselves and taking their eyes away from wonderful family, friends, and things nearby.

In his solo exhibition, Chung-en intends to use objects which people are able to touch as a means to search for the value of life in the realm of art creation. For him, the creative process is a course of sealing his individual spirit. In Broken-Statue series work, he sculpted and studied his state of mind at the moment. In Self Secretion series, he shows that broken vessels and fractured channels may be weak, but they can be rebuilt and be strong again. Through these vessels, he also reveals his feeling of being small, weak, and, inadequate.