《豐慶十七帖．駄式-顏頂生個展》，駄式二字其實透露著那麼點「招式」，像武功，藝術家解釋著說：筆法就是招式，中國歷史上有非常多關於筆墨「用筆」、「執筆法」的討論，但他個人的部分，作品不是書法，而是和書法的脈絡有關連，是抽象不是文字結構。他說：「非書法、類書法、反書法…駄，對我而言是沒完沒了的沉重包袱，是極大的挑戰，也是樂趣。」
In Fengqing Shiqi Modelbook．Abiding With What Is: Yen Ding-Sheng Solo Exhibition, the term “Abiding With What Is” is a subtle reference to the idea of technique or stance, akin to the formal postures or methods found in martial arts. Yen explains that brushwork itself constitutes a set of techniques. Throughout Chinese history, there has been extensive discourse on the use of the brush and methods of holding it. In his own practice, however, the works are not calligraphy per se; rather, they are connected to the lineage of calligraphy while remaining abstract, as opposed to being structured as written characters. He states: “Not calligraphy, quasi-calligraphy, anti-calligraphy… abiding, for me, is an endless and heavy burden. It is an immense challenge, and also a source of pleasure.”
