旅行遷移可能造成個人身份具徹底顛覆性的逆轉，從離開熟知的自我而進入陌生的自我，異鄕人熱衷於追尋一種屬於他們自己內心的第三類文化（Third Culture）。華裔現代藝術創作者能在異邦有所成就者，均充分表現了個人風格，並在有意無意中，顯現出一絲暖昧與邊際的（ambiguous and marginal）東方情愫。在中國繪畫的園地，十九世紀開始遇上所謂的西畫問題，東西兩流互相衝擊，時間長了，拒斥變成相融。莊喆繪畫的一特色，即是他淵源於故宮珍藏畫作之用墨技法的渲染，將此神髓潛移默化植於西方現代繪畫之中，中國繪畫的「筆法」，他有意的滲入了西畫的創作，於是中西渾融，自創一格。過去莊喆強調中國的現代畫，現在過了四十年再看自己的畫，仍然一樣。只不過他選擇的工作與生活的地方不在中國。意識裡卻更擁抱中國了，如果說早年是擁護中國的現代畫，現在卻更像是在擁護現代的中國畫了。莊喆覺得自己期待的是中國的新山水畫，即現在大家所稱的新的中國畫。
莊喆、抽象表現主義、文徵明、第三類文化、第三種空間、中國現代畫、現代中國畫
Instability from traveling is said to cause possible dramatic transformation of an individual's personality which would drift from normal to an unknown self. People in a foreign land are eager to seek the third culture belonging to their inner self. For those Chinese artists of modem arts who have achieved success in foreign land, they have all displayed unique personal styles plus they have all inadvertently incorporated eastern elements of different degree in their works. In Chuang Che's case, his works are related to the New Chinese landscape painting or more commonly known as the New Chinese painting. It was his intention to incorporate brushwork of Chinese painting in creation process of western painting as an effort to introduce a unique style by merging east and west. In the past, he emphasized the idea of "Modem Painting of China". 40 years later, the only difference is that the place he works and lives is changed, now not in China. Nonetheless, his thoughts have even more desire to embrace China, if he was fighting for "Modem Painting of China", it feels more like "Modem Chinese Painting" today.
Chuang Che, Abstract Expressionism, Wen Tseng Ming, Third Culture, Third Space, Modem Painting of China, Modem Chinese Painting.
