圖像文本如同書寫，其符碼系統與指意活動呈現複雜的互文狀態，銘刻著藝術家的主體／論述位置，並隱藏特定的觀看框架和對話對象。畫家侯俊明出生於嘉義六腳，大學時受民間原生藝術啟迪，畢業作推出《工地秀》、《大腸經》，真實反映臺灣經濟奇蹟背後矛盾畸形的情色展演現象，被視為異端而逐出展覽場外；服役期間，遭逢女友兵變，前後兩次被排除拒斥經驗，在身體留下巨大傷口。俟讀及古代刑天神話故事後，深有所契，遂將斷首「刑天」與「六腳侯氏」（自稱）結合，成為自我崇化／圖騰化的創作符碼，完成系列變衍刑天概念的藝術作品。繼而又從常民文化中獲得豐富能量與靈感，一改過去循規蹈矩風格，而以類比、誇張手法作喜劇性的戲仿再現，完成侯氏《搜神記》系列版畫18幅，既對神聖經典、傳奇人物進行貶低模擬的顛覆改寫，也嘲笑自我的不幸、痛苦、缺點，透過調侃揶揄和諧謔，沖淡人物的聖俗尊卑貴賤、是非善惡差異，揭露人性本質荒誕可笑的一面。

Graphics are similar to written texts, in which the sign system and denotations present complex intertexuality, stamped with artists' subjectivity/discourse position, and conceal specific frame and dialogue objects.The artist Hou Chun-ming was born in Liujiao, Chiayi. He was inspired by folklore arts during his college years; he released Realty Side Show (《工地秀》), and The Intestine Sutra (《大腸經》) at his Graduation Exhibition, reflecting the contradicting and deformed erotic spectacle/ performance phenomenon behind the economic miracle in Taiwan, and was then deemed as a dissentor and cast out of the exhibition venue. His then girlfriend left him when he was serving in the army. These two experiences of feeling excluded and betrayed left him traumatized. He felt this deeply after reading the mythology of "Xing Tian" (刑天) and was aroused to combine the headless Xing Tian with Liujiao Hou shih (「六腳侯氏」)literally meaning "Hou with Six feet") into Self-worship/Totemic signs of creation with which he completed a series of transformed Xing Tian conceptual art works. Furthermore, he absorbed abundant energy and inspiration from folk culture, and changed his usual by-the-rule style to an analogous, exaggerating parody style, and completed a series of 18 Hou's Sou Shen Ji (《搜神記》) (In Search of the Supernatural) prints, which not only denigrated the sacred legendary characters but also mocked his own misfortune, pain, and flaws. Through ridicule and banter, the characters' status hierarchy, right-and-wrong and good-and-evil, differences were trivialized, and the absurdity of human nature was revealed.