Meaning is at the heart of Zoer’s work. This observer hons in, captures the real to better figure it out. His personal vision comes from drawing at an early age. As a child, he spent time in scrap yards, drawing traffic-jams and developed a passion for destroyed items and changing objects. From this, he established his own formal vocabulary. As a teenager, he became familiar with comic art and editing satirical fanzines, he developed a graphic sense and narration.

In the early 2000’s, parallel to his industrial design studies, he frequented aerosol cans and abandoned lands, while deploying a sensibility for the color. He was soon noticed for his creative richness and his sense for integrating illustration to art of letter/typography. Like an architect, he builds the painting with poetry, reveals a glance with politic accents on society and its cultures. He’s giving a lot of attention to abandoned places and their hope for future.

Zoer’s artistic language cultivates paradox. Often violence of the subject can resonate with the delicacy of the render. Precision justifying disorder, realism approaching utopia. Travelling the world for painting, he wants to settle in the landscape, considering the place he chooses appropriate, thus giving it a new point of view.

追求意義，是Zoer作品的核心。他是一位觀察者及思考者，希望把捕捉到的現實一一清晰化。

他畫作中的個人見解，可以追溯至他的童年。小時候，他經常看著廢品場，畫下一幅幅交通擠塞的場景，鍾情於破舊物件及不斷變化的事物，更因此建立了自己的獨特表達形式。青少年時期，他喜愛上漫畫藝術。之後，作為satyrical雜誌的編輯，他的平面藝術感及敘述能力進一步上升。

在2000年代初，他在進修工業設計的同時，經常手持噴漆罐出入廢棄場所，對色彩的鑒賞力亦得以發展。豐富的創意，以及插圖與美術字融為一體的美感，讓他很快就被人注意到。他就如一位建築師，作品中蘊藏詩意，並透露出他對社會政治及文化的關注。他十分重視廢棄場所及這些地方的未來發展。

他的藝術語言充斥著對立感：創作主體暴力的一面，往往能夠與藝術處理手法的巧妙之處互相呼應；精準與亂序齊行；用現實去對接理想中的烏托邦。在遊歷世界的過程中，他希望能棲身在自然風景之中，選擇合適的地方，帶出全新的觀感。