沒有盡頭的道路，是否該繼續前行，抑或是轉彎、後退。走向未知的路途是一種挑戰，但順著前人的足跡前進也未必容易。
本次展覽是陶綱歷經十年時間，將旅遊所見的實景作為創作來源，去除帶有情緒的色彩及季節特徵，讓作品呈現出相片的效果，希望引發觀者各自的記憶、情感，提點沉澱於心底的回憶。
縮減畫面規模、以點作為筆墨中心，希望使畫面更純粹、以局部內容傳達宏大的思想。
陶綱描繪景色的方式，是以多種色階的墨色所構成的細小墨點，描繪山水之間的嶙峋。藝術家以光線的強烈與景象的遠近決定墨色深淺的分布。描繪如眼睛在面對強光時所見得的逆光效應，以及在夜晚之中看見的明亮大地。這是陶綱觀看韓國電影，林權澤導演的《汲取月光》中，受溪邊造紙景象感動之後，得到的美感經驗。
There is no end to the road, whether we should continue to move forward, or turn, back. Heading for the unknown trip is a challenge, however following the footsteps of predecessors may not be easier.
This exhibition is Tao Kang’s ten years of experience, using the photos in the trip as the source of creation, removing the emotional colors and seasonal characteristics, and letting the works show like photos, hoping to arouse the viewers’ respective memories and emotions that settle in the bottom of their heart.
He reduces the scale of the paintings and uses dots as the main technique, trying to make it simpler and convey grand ideas with partial content.
Tao Kang depicts the ruggedness of mountains and rivers with small ink dots composed of various shades of ink. He uses the intensity of light and the distance of the scene to determine the distribution of ink depth. Describe the backlighting effect as the eyes see when facing strong light, and the bright land as seen in the night. This is Tao Gang's aesthetic experience after being touched by the scene of papermaking from the stream "Draining the Moonlight", directed by Im Kwon-Taek from South Korea.