Stone impresses people as hard and rational, while flower symbolizes tender and emotional. Maybe stone and flower can be considered as male and female. But the two totally opposite objects were integrated into Wu Yang's paintings in an almost "absurd" way.

　　At the first sight of Wu Yang's oil paintings, one may be astonished by the dreamlike images and tension-filled figures presented by such a tender and graceful woman. Similarly as surrealist, Wu Yang fabricated such a space in her painting: The endless field, the deep mountain stream and unbounded seashore; together with the different leading roles: the huge rocks wrapped with cotton print, the suspending stone, the flying petals and unrealistic beings. All these jointly built the field beyond the sense of time and space, on which the fine and soft cotton print covered the cold and hard stone. If it was surrealism that sought for realistic creative concept in subconsciousness and dreamland, Wu Yang depicted her personal life experience and unique inspiration in paintings.

　　The most typical visual image in Wu Yang's paintings is the diversified decorative patterns on cotton prints wrapping stones up. The refined, even tiresome patterns are undoubtedly the most unique factor in Wu Yang's paintings, by which they are differentiated from others' works, and one of the most important parts in her life experience. Wu Yang once studied in Beijing Arts and Crafts School in early years, and designed cotton prints in No.2 Printing and Dyeing Mill of Beijing in her first employment at 19 years old. The experience in the mill triggered Wu Yang's fascination with cotton print, which was even further intensified in her fashion design career afterwards. Being interested in fashion design, Wu Yang went to U.K. for fashion design in 1991 and established her own fashion company after returned to China in 1995. Long-term contemplation and practice in work have developed Wu Yang into an expert in pattern design, and pattern of cotton print has constituted an important segment of her life memories. Therefore, the affection towards pattern and cotton print would run through her artistic creation.

　　The career life as a fashion designer not only turned cotton print into an important part in Wu Yang's life, but also cultivated Wu Yang's interest and sensitivity towards texture, characteristic and function of textile, as well as led to her decision on the unique choice--"wrapping" or "covering" stone up with cotton print when dealing with the relationship between them. To wrap or cover up something was a common behavior or creative means often adopted in creating artworks. One of the most representative one was the Christos'Land Art, in which the Christos covered up the enormous natural or cultural landscape, deprived them of the original appearances and functions, and overthrew their original visual impression in people's mind. In Wu Yang's paintings, wrapping and covering stones up also changed and overthrew stones' original physical and symbolic attributes, just like dressing human beings up, which would bring a brand new visual experience to the audience. In such a context, the physical attributes of stone and cotton print have been changed and replaced by the brand new visual images, which only existed in dream.

　　As a contemporary female artist, Wu Yang created with symbolic and conceptual female visual languages in an exquisite and implicative manner, e.g. the flowers and petals in the fine pattern, in the cultural sense, always symbolize female traits since ancient time. The colorful textiles characterized by their thin and soft texture again feature female characteristics. Compared with textile, the wrapped stone is dim in color and hard in quality, which obviously indicates male characteristics--strong, firm and powerful. Covering the stone with cotton print superficially changed the original nature of stone, and established an opposite but relatively balanced visual relationship between them. It can be considered as the opposition between both sexes, which was depicted implicitly and skillfully on canvas, although seemed serious and intense. Just like the gender relationship, both parties reached in a relatively balanced state after mutual compromise and persistence. This is the relationship between stone and flower in Wu Yang's paintings, indicating the intrinsic conflicting relationship between man and woman in a implicit, reserved, graceful and even beautiful individualized way.