One may well compare artistic circles with towering mountain
ranges, and individual artists with floating clouds: some disperse into mere mist halfway up the mountains, but others manage to climb higher and eventually rise above the peaks, basking in the glory of summits while adding to their splendor and majesty.
    Quo Ying Sheng clearly belongs in the latter category.
After many years spent in self-imposed exile to observe different things from different angles, he finally found his true self, a discovery that allowed him to elevate photography

France, 1976
The Confucius Temple, Tainan, 1980
to a new level where he pours the core of his very identity into the art, dissolving and reassembling it in his visual documentations. He captures and condenses the very essence of his subjects, his eyes as sensitive as a cat’s to light and its myriad modulations, and redefines himself in a state of selfoblivious trance.     Paris has a lot to offer to an aspiring artist. Here, Quo
Ying Sheng’s work first received the attention and appreciation it deserves. In the April of 1981, the renowned photography magazine ZOOM printed a special feature on Quo that included full-page reproductions of seven of his photographic works, an honor awarded only to a select few. What follows is what ZOOM’s critic had to say about Quo’s work, interspersed with portions of his interview.     Quo Ying Sheng’s photographs are like haikus,
Flea Market跳蚤市場, Paris, 1976