In Guan Yinfu’s works, the pigment turns from a color to an object which is composed of color, volume, and weight. In his works, colors have volume and weight, and the contact, overlap, and permeation of different color blocks bring slight changes to them. Guan Yinfu’s works minimize the works’ nature as paintings—the artist’s body and spirit are no longer in charge; rather, the artist takes a step back and acts as a follower. Apparently, Guan Yinfu does not design the shape of the color blocks on his works. Instead, he lets pigments naturally flow and congeal. However, he did tilt the wood boxes a little bit, so as to create slight disturbance to the shape of the color blocks when the pigments congeal naturally. Also, the combination of wooden crates and pure pigments imbues the works with casualness, and blurs the boundary between “works of art” and “objects”. Guan Yinfu also works with stainless steel. With the grinding marks on the stainless steel, the artist creates an optical illusion which disturbs people’s conception of space, and therefore makes the representation of the works complicated, multi-layered, and debatable.