Chiu Wei-Hsiang deliberately employs seemingly “naïve” and fragmented lines and compositions to summon the lingering shadows of past life experiences in the most direct and grounded manner. He consciously sheds the rigorous training of academic painting and calligraphy, opting instead for a “child-like” purity of vision to express the most sincere kau-pue (social bonding and hospitality) between people.

Born in Dayuan, Taoyuan, Chiu’s creative nourishment stems from the vibrant, salt-of-the-earth daily life of farming communities and a distinctly Taiwanese sensibility. In recent years, facing the expropriation and demolition of his home due to the Taoyuan Aerotropolis Project, he has turned to his brushes, transforming painting into a silent form of resistance. He emphasizes that his works are created "according to memory" rather than through the imitation of photographs. As home and kin disperse, the passage of time distorts memory, causing the contours of objects in his work to shift from concrete to blurred—a reflection of the psychological "phantom pain" that occurs when spaces vanish.

邱瑋祥刻意以看似拙劣、不完整的線條與構圖,用最直接且接地氣的方式,召喚過往生命經驗的殘影。他有意識地拋開學院傳統書畫的嚴謹訓練,轉而以一種如同「小孩」般的純粹視角,表達人與人之間最真摯的交陪情感。祖屋的拆除與祖父的逝世,使延伸的家族逐漸瓦解,留下難以填補的空缺。此後,邱瑋祥回到家鄉,接續家中事務,在家庭期待與自身選擇之間承擔與回應,也讓個人的步調暫時被擱置。在這樣的日常之中,他以夜間繪畫作為持續的儀式,將勞動後的疲憊轉化為創作。藝術成為他的日記與出口,在記憶、哀傷與渴望之間,形成脆弱卻有力的圖像。每一道筆觸,都是為自己保留呼吸與空間的方式。展出的作品既保存了逐漸消散的親情溫度,也映照出他在夜晚中持續前行的狀態。