运用传统国画的晕染与西洋画的平涂，将赤裸的人体与明式家具，持扇的长袍老人与携手相恋的少年，绘于同一画面。这些奇异的组合，是—种古代与现代、东方与西方的对话，包涵着生命与审美的辩证。
　　人体与明式家具都有着弯曲、丰满、流畅的线条，人体是现实的生命体，线条中亢溢的是真实而短暂的活力，明式家具是无生命的历史遗物，线条中即体现着永恒的审美魄力；赤裸的人体迅捷地从那古老的椅子前奔跑而去，投入现实的时尚中，可是，传统无法回避地存留在同一个时空中。
　　在作品中，画家通过比例、线条、色彩的错乱和夸张呈现出东方与西方，传统与现代交混的现实，将人类所面临的一切文化冲突，赤裸而触目地推到欣赏者面前。

著名美术评论家
王春元

　　Zhao Junsheng applied concepts that are about East and West, traditional value and contemporary culture, chaos, distortion and conflict.
　　He uses ways that have been common in the Chinese pictorial vernacular, but there is sometimes the firmness which is evident in the application of oil on canvas. His nude and Ming furniture are the past combined with tile present. The person dashes forward, possibly into a more fashionable world, leaving the chair in the same space that is eternal in its own right.   

Art critic
Wang Chunyuan

作者：王元春