……在画面形象上直接挪用了大众流行图像“单纯”、“甜俗”的特征，以自觉将自己放逐于传统国画“文人”化精英趣昧。其次，它们在内容上对市井流行语话也进行了挪用的同时，其价值判断是暧昧的、含混的，这样也就是使自己尽量混同于到大众流行图像之中，因为在后现代的语境中，在对对象进行挪用、混同的过程中，而不作简单的价值判断是其特点之一。
但是，周湧在其作品所挪用的对象一公益广告进行形式上的模仿之外，其实质上是对其“理想主义”的虚假趣昧进行了反讽。比如“多种树，空气好”、 “好好学习，将来过好日子”等都是基于一种现实的功利心态;而像“想要同居”"、“不想上学，想去打工”等，又是基于现代物质现实生活中的一种迷茫、无奈的心态，当这些与我们惯常通过传媒所得到的一般的公益广告虚假的理想主义趣昧进行比较的时候，它能够进行一种新的意义转换。
另外，他的这些作品的传播方式是通过街头广告牌、电信充值卡、“手递子”"小广告等形式，而且在这个过程中不再有“原作”与“复制品”之间的区别。这个“过程”一是把我们惯常所习惯了的作品在特定场合中展示的意义化解于这种图像“"消费”的传播过程之中了;二是颠覆了“原作”的意义，其实际上是对自现代主义以来对精英文化的自恋，甚至是在这个过程中，作为“物”的作品的价值也消失了，取而代之的是图 像在"被消费的过程中"的意义。
还有，在他的作品制作手段中，他把作为传统国画的特征之一的"线"，用反复连贯、毫无个性特征的“点线”来代替，这样，作为表情 这意、传达艺术家的个性、修养，以及“写物造型”作用的“线”的意义 就也消失了。所以，实际上是反映在作品中的艺术家的“个性”的消失。
“作者个性的消失”也是大众流行文化的特征之一。周湧借用这种“作者个性的消失”的方式来制作作品，就是要对传统国画过分强调艺术家个人特征的运笔、用墨、造型等因素进行颠覆。那么，我们在看到这些完全消失了个人特征的“国画”之后，我们先前的所有建立在“个人特征”基础上的欣赏经验也将受到前所未有的挑战。
吴鸿
Move those popular images with innocence and sweetness features to his works, Zhou exiles himself from the traditional Chinese intellectual circle. Besides, Zhou makes a ambivalent critic towards the popularity among common people which is believed to be “vulgar”. By doing this Zhou is concluding himself into the common people circle. This is a specialty in post-modern context.
However, despite the imitation of public service advertising, Zhou expresses his contempt towards false taste. For example: “plant more tree and make the environment better”, “study hard and a bright future is permitted” mirror a money-worship ideology. And “want a cohabitation” and “prefer work rather than study” reflect the confused and helpless mentality buried in people’s mind. When we compare such reflection with the traditional public service advertising, it transform into another meaning.
People can find Zhou’s works through street billboards, rechargeable cards, and all kinds of leaflets. Such way of transmission perishes the border between “origin” and “replica”. The process changes the common way of showcasing art works in certain occasion and venues and reverses the meaning of origin. The Process despises the so-called elite culture and through it the value of “substance” disappears and thus a meaning of “process of being consumed” is found.
Zhou uses those repeated and common dots and lines to create the works. He has abandoned the stroke that seen has one of the major features in Chinese Ink Painting. Stroke is treated as a major and basic way to express an artist’s personality, accomplishment and style. And by doing this, Zhou erases his personality that could be found through an art work.
And this is another feature for pop culture. By borrowing the way of “extermination of personality”, Zhou reverses the custom that lies in Chinese Ink Painting: overemphasizing the personality through stroke, way of applying ink on the paper, shape and other elements. When we meet an ink painting that has diminished personality, all standards that built under the basis of a personality are reversed and spectators’ experience of appreciating an art work is challenged.
Wu Hong