Wu Guanzhen's solo exhibition 折柳 & Heimweh draws inspiration from the allusion to the " Willow Twig Tune" in Li Bai's poem "Hearing a Flute on a Spring Night in Luoyang," reflecting the contemporary inner homesickness of individuals. it also employs the 17th-century European pathological concept of Heimweh (homesickness), highlighting the historical changes in the relationship between people and space in the process of modernization.

The exhibited series of works are often scattered throughout the space in the form of screens or architectural components, transforming them from self-contained and closed images of modernism into spatially immersive painting installations. The artist depicts flowers, branches, mountains, and water on ramie fiber, where the mottled natural lacquer surfaces merge with the indoor lighting and shadows. When someone passes by, the interplay of light, shadows, images, and gazes triggers a theatrical emergence of the artist's "homeland" in our presence.

藝術家吳觀真的個展「折柳 & Heimweh」援引了李白《春夜洛城聞笛》中「折柳曲」的典故，影射了當代人內心深處的「鄉愁」；亦使用了發明於17世紀歐洲的病理學概念Heimweh（思鄉病），點出了在現代化進程下人和空間關係的歷史變遷。

展覽中呈現的系列作品往往以屏風或建築構件的形式散佈在空間之中，這使得它們不再是現代主義自足和封閉的圖像，而是成為空間介入式的繪畫裝置。藝術家描繪的一花、一枝、一山、一水被呈現在鏤空的苧麻纖維上，斑駁的天然漆面和室內的光影互相融合。一旦有人經過，光影就被觸發，在光影、圖像和目光的交相呼應中，藝術家心中的「故鄉」以劇場的方式浮現在我們面前。