初看戈子馀的作品很容易让我们联想到关于空间维度的理论与学说，也可能会简单的判定他的作品就是欧普艺术的延续——制造了一种视错觉。然而，在戈子馀眼里他的创作是一个“同之又同”的过程，在道家学说里这是认识天地万物的方法，由本体的复制产生无穷的变化。他所创作的这些看似极具工业感的作品，一方面在实施前经过艺术家精密的计算，另一方面在实现的过程中却来自艺术家手作的打磨与上色。戈子馀以日常手感的经验控制着空间的维度，创作本身成了一种自我的修行，并且，他通过琢磨色彩在物性空间中自身的规律及属性，进而试图打破或无限度的模糊物性空间与虚拟空间的边界。在我看来，他用绘画与材料所构筑的空间使“无中生有”，不仅着力于强调作品与观看之间的关系，也折射出他对视觉元问题的思辨。 Ge Ziyu's work easily reminds us of the theory of spatial dimensions, some may simply determine that his work is a continuation of Op Art-a creation of optical illusions. However, Ge sees his works as a “same yet different”, it is the recognition of the universe in Taoism, that creates endless changes by replicating the noumenon. While on one hand Ge's works seem greatly industrial, actualized by precise calculation; on the other hand the works were polished and painted by artist's own hands. Ge Ziyu well controls the dimension of space with his sense of experience, and art creation has become a self-cultivation. Also, Ge was trying to break or blur the boundary between the material space and the virtual space by refining the rules and attributions of color in material space. In my opinion, Ge uses painting and materials to build a space for “creations out of the blue”, committed to emphasize the relationship between the art works and the audiences. The works also reflect Ge's thoughts in visual problems.