富花圓
從藝術家蘇孟鴻的繪畫、絹印版畫、裝置與雕塑的創作歷程，可看出他試圖將中國傳統的花鳥畫改造成一種艷俗浮誇的視覺圖象，或者用立體裝置的方式，將它們變成一種更感官訴求的文化符號。他的作品中經常挪用清代中晚期畫家的花鳥元素，其圖像符號並不單純是社會符碼的嘲諷與普普化，而是對貴族或文人品味的反思。
Su Meng-hung works across such mediums as painting, silkscreen printing, installation, and sculpture in a creative process that manifests his attempt to transform traditional Chinese imagery of flowers and birds into a visual vocabulary of gaudy and grandiose icons, or into a cultural language of sensuous and appealing symbols. He often adapts elements of flowers and birds from the work of late Qing-dynasty painters. These visual symbols are not merely driven by the artist’s desire to ridicule social codes or to popularize the symbols in mass culture. In fact, the flowers and birds embody the taste of the aristocracy and literati.