圖像為繪畫創作的要素之一，而當今已是影像充斥爆炸的時代，筆者將「像」（image） 的諧音翻為「隱梅菊」，在音似但詞意完全解構原音而且是用不同國家語言時，在兩者詞意間拉出了想像及詮釋的空間，諧音在中華文化的創作中，是很常見的手法之一，筆者以此方式比擬自身的創作方法及過程。「隱梅菊」的隱，象徵著一種避世的精神，隱士精神的在中國文人文化中，扮演著重要的角色。連結西方德勒茲聲稱卡夫卡作品內所勾勒的逃逸線，對於體制的不滿進而追求相對的自由性，企圖爭脫舊形式而追尋生命的自由度，或像文人遠離塵囂隱居並寄情於山水中。梅、菊則是現實之物轉為創作的符號，符號則能離開現實承載人的意念。本文也會從探討東西方創作過程不同「像」的轉化，再現、寫生的具象到符號化後的形像，最後解構符號的影像。藉此來對應自身創作中對於像的探索歷程，擬態、疊影等的創作手法，以及不同媒材所生產的像，在畫面中相互對應撞擊，企圖超越「像」本身的限制。
「隱」不僅在象徵精神也成為創作圖像的手法之一。藉由這樣的雙向性特質，一方面在畫面中探索「像」的可能性與超越性，另一方也要回應到自身處於的台灣，文化認同、環境變化與世代問題等。如何讓藝術創作更飽滿而延展出更多的可能性，在此不僅是創作也進行論述的努力。

Icon is one of the elements of painting creation and it's era of images explosions now so author translate the homonym of "image" into " yin mei chu ", which is completely similar in the original sound but meaning that deconstructs the original sound in different national languages and interpretation is drawn between the two words. The author compares harmony which is one of the most common method in the creation of Chinese culture to creation methods and processes. The hiddenness of " yin mei chu " symbolizes a spirit of avoiding the world. The spirit of hermits plays an important role in Chinese literati culture. Linking the lines of flight described by the Western Deleuze claimed Kafka's works, the dissatisfaction with the system and the pursuit of relative freedom, attempting to compete for the old form and pursuing the freedom of life, or like the literati to live away from the dust and seclusion in the landscape. Plum and chrysanthemum that be turned into signs of creation are real things and signs can leave the reality to carry people's ideas. This article will also explore the transformation of different "images" in the creative process between the East and the West, then the reification of representation and sketch from nature to the symbolized icon, and finally deconstruct the image of the sign. In this way, it corresponds to the exploration process of the image in its own creation, including the creation methods of mimic and overlapping images, and the
images produced by different media.
"Hidden" is not only a symbolic spirit but also a means of creating images.Thus, bidirectional characteristic explores the possibility and transcendence of "image" in the picture and the other side also responds to Taiwan, cultural identity, environmental change and generational problems. How to make art creation more full and extend more possibilities ; herein, it's not only creation but also discussion has to
make all-out effort.