Grey Cube Gallery proudly presents the fourth Grey online art show for the month of October 2025. The show encompassed a range of artistic styles and mediums (acrylic, photography, colored pencil, graphite, ink on paper, scratchboard, stainless steel, marble, gouache). Each submission has been judged based on the following elements of artistic expression: orginality and quality of art, overall design, creativity, interpretation of the theme, demonstration of artistic ability and usage of medium. Out of all entries, 60 artworks were shortlisted for inclusion in the show. The competition attracted entries from many countries across the world: South Korea, Taiwan, UK, Switzerland, Australia, Ireland, Canada and USA. Enjoy the show and thank you for expressing an interest in our competition.

Hung Hsu Liao, a new-generation sculptor from Taiwan, has received numerous awards in art and sculpture competitions around the world. He excels at using the *method of form composition*, transforming his reflections on the warmth of sunlight, the fleeting beauty of twilight, and the mystery of the speed of light in the universe into sculptural expressions through association, deconstruction, and reorganization. This creative process breathes new life into his series **“Walking Dawn.”** These works reveal the tension between space and form while creating a dynamic dialogue between the viewer and the sculpture. In terms of material, Liao moves fluidly between stone, metal, ceramics, lacquer, and reinforced resin, exploring the possibilities of each to present a diverse and multidimensional sculptural language. Liao believes that sculpture is an art form that can construct a complete sense of space. Through the interaction between the work, the viewer, and the environment, static forms become fluid within dynamic space, resonating deeply with the audience. His creative journey is one of constant evolution—filled with a passion for life and a relentless pursuit of self-challenge.

The major part of my creative research scholarship has been my typographic constructions which are entirely hand-constructed of paper. These designs that articulate light and space, blending form and concept. I am interested in the Netherworld between art and functionality, utilizing graphic design as art. Work that transcends conventional graphic design and could become art. This is a kind of art practice that uses forms that come out of graphic design. A form of conceptual type play, experiments in how to make typography more visual. Typographic combinations of text and 3D design elements that are linked to earlier developments of visual poetry by Dada and Lettrist movements. The convergence of type and 3D enables these expressions to be both visually stimulating and literal.

Familiarity. Controllability. Predictability. These arise from the standards I imposed on myself. I tried not to deviate far from the frameworks I set, striving to control the unpredictable. Yet those very standards transformed into an obsession, becoming a cage that confined me—and, ironically, they became the starting point for an internal desire to break free. My work begins with the craft-based form of “containing,” but the forms gradually undergo transformations—swelling, collapsing, and cracking. This process is both a formal exploration seeking freedom and organic silhouettes beyond pre-planned structures, and a visualization of the desire to break free. Yet the forms remain incomplete, still bound by the order that preceded desire. Built using the coiling technique, the forms are shaped through this process, with intentionally created surface cracks and the flows that rise through them culminating in emergent forms that evoke organic structures. This approach embraces the natural texture and inherent qualities of clay, and acts as a counterpoint to my past reliance on refined lines and controlled shapes. I emphasize the flow of creation over finished results, organic forms over rigid structures, and the process of change rather than its conclusion. Through this, I reveal the internal conflicts that arise between control and impulse, order and chaos, desire and restraint. While rooted in the traditional framework of craft, my work draws inspiration from living nature. It aims to convey a sense of craft formed through the passage of natural time rather than by human hands. By embracing the inherent properties of the material and expressing vitality through organic, natural forms, my work resembles something that has grown rather than been made, showing a force that seeks to mirror the rhythms of nature.

Photography has been a never-ending journey and has taken me to some incredible places over the years to capture nature in some dramatic places. Nature has always been a part of my life, growing up in the rural mountains of Northcentral, Pennsylvania. The beauty of nature channeled my interest in photography to focus on the wonders of the natural world around us. Planning a photo shoot takes planning, and I try to visualize in my mind the scene or scenes I want to capture. When I arrive at a location this planning allows me to slow down, survey the scene, and imagine how each shot will look as a finished product. Photography has opened my eyes to see the natural world in all its beauty and captured that beauty to share for all to see and enjoy.