大學時期的蘇孟鴻總耳濡在「西學為體，中學為用」或「台灣美術本土化」的論戰中，這便是開啟了蘇孟鴻在個人身份脈絡中汲取文化元素與西方藝術教育經驗兩相結合的創作之路。 蘇孟鴻以絹印製版的創作手法轉化兒時在美術班臨摹水墨畫的學習經驗，將清代宮廷畫家朗世寧的作品與《芥子園畫譜》中的山水圖像，作為作品畫面中的素材。同時結合螺鈿、漆器與漆藝等民間工法，以及皇宮貴族品味中的掐絲、珐瑯質感的傳統工藝技術，來重新演繹繪畫這件事情。
展覽當中，作品《有透視的風景之一》（View With Perspective 1）、《有透視的風景之二》（View With Perspective 2）便是以批量生產的西式油畫風景與《芥子園畫譜》山水畫圖像兩者的並呈，直指藝術家蘇孟鴻對於中西方繪畫中制式化景象的觀察態度與回應。
對蘇孟鴻來說，藉此具批判性、實驗性的繪畫方式，他得到了某種衝擊與創作的快感。其獨具風格的創作手法，在詮釋「異國情調」、「己國」與「異己」的同時，也為觀者開拓了另一種角度重新思考什麼是「我」以及「我們的文化」。
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