To Yu-Chien Hsiao, the vague, ambiguous, low-referential images in her artwork exude a sense of being alone. Interested in thin, warm paper and fluid and unstable liquids (ink and water) and other media screen. In the 1960s, Minimalism extended abstract expression as a new art style. Recognizable images were connected with specific events and understood together. The only thing left was perhaps the established cognition and viewing of the existing things in the world, so those were rejected. Representing and focusing on expressing materiality and discussing reality are the basic directions of Yu-Chien Hsiao's current artwork. Cognition is a process of learning, and human beings are accustomed to using language and words to understand things, which leads to biases and unequal information transmission. The simple structure minus the images that can be referenced with reality induces the viewer to think through the material itself, and the various choices in the creation also become the path to carry the concept and attach to the work.

The grayscale of ink is used to layer the picture, and the color tone is limited within a range to reduce the sense of space. The black and gray of the ink itself is warm and moist, and the scattered ink dots weaken the sharpness of the boundary through the immediate absorption of the paper, revealing the image as blurry and ambiguous. This state is attached to the soft rice paper, and the silent picture highlights the poetry of the material. The folded paper produces a slight three-dimensional effect, and more directly exerts the materiality of the medium and highlights the unique temperament that the paper can express, reducing the long-standing habit of using paper as a carrier. Try to change existing viewing patterns and create new expressions beyond the language of painting.