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抽象画是脱离现实造型，用点、线、面或符号式的节奏感和重叠及覆盖某种影相，或简化造型再用各种肌理效果或色块拼接而成的反具象概念的画法。抑或加以综合成艺术家訴语概念。艺术家所要呈现的美感精神内容也许是所专注的文化元素或宗教符号、借用灵动的线条色彩的渲染、形体的不同架构和色块拼接组合。

历史上从远古新石器时代始就已经出现人类抽象形纹的象征图形贯穿于文物或装饰性的美术中。一直到真正“抽象画“成为一种艺术审美的准则之一，应归于二十世纪百花齐放和百鸟争鸣的西洋艺术蓬勃发展大时代，即由巴勃罗·毕加索（Pablo Picasso，1881—1973) 始，Georges Braque，1882—1963）领导的立体主义运动（cubism）发展之后才开始。

郭博州教授的抽象画明显结合了东西方文化元素境景。从他用黑色代替墨色浓淡的挥洒和浮现的拓印等，虚实相间条纹分布或简化毫无拘束随着感情的流动性展现出来的点,线,面所转变的艺术表现思维，为突破传统框架，他正是将东方哲思的写意精神和与到美国修读后受西画抽象主义和表现主义的创作爆发力形式冲击，精进想把两者融为属于个人艺术风格语言，开拓创造置于同一当代艺术家的艺术文化空间，表现出精妙平衡实践经验所演化的创作效果。

郭博州教授的抽象画作以综合媒介来诠释一种精神内容语境。他的作品散发了当代艺术绘画象征写意精神语言和营造出具深邃思绪上欲探索某种冲击人文问题的感悟。抽象与意象融合里也围绕着艺术家内心强大震撼人心的寻思目标。作品已尽显成以艺术作品阐述自身寻思的对语和反省。

郭博州教授对他多年来的綜合媒介創作理念诠释如下～“多元艺术創作則是我多年以來的表现手法，通过情系家乡；逸遊世界的創作理念，試图传递传统与现代的遇合、东方与西方的对话。恣意使用Montage的策略，把生活的片断或实物引入作品中，從不同時空背景的图像重新組合、拼貼，让画面充满幽默和丰富的叠像之美，同時拥有异想天开的想象力，呈现出诗一般的意象。”

他并说到，近期他的作品是五十岁后对艺术创作的阔达与自信。他也试图把多年来深受西方艺术教育熏陶后、回归到东方美学思想的探讨，将东方文学、哲学和美学融铸在一起，透过不断的涛洗，让作品的“气势”和“气韵”可以显现更大的“气魄”。那就是“大处着眼、小处放松、不拘小节、气韵生动”！

近年从抽象画搬到彩瓷表现。他却无意间开拓出另类特别迷人灵动表现的一系列亮眼的抽象彩瓷鲜明风格，无形间提升他的抽象创作和给予他的抽象审美观作品加分。

——庄梦轩

Abstract painting is a non-representational technique that departs from realistic forms. It utilizes the rhythm of dots, lines, planes, or symbolic elements, as well as the overlapping and covering of certain images or the simplification of forms through various texture effects or the juxtaposition of color blocks. It may also integrate the artist's conceptual ideas. The aesthetic and spiritual content that artists aim to present in abstract paintings may focus on cultural elements, religious symbols, the rendering of dynamic lines and colors, different structures of forms, or combinations of color blocks.

Throughout history, abstract symbolic patterns have appeared in human artifacts and decorative art since ancient times, starting from the Neolithic period. However, it wasn't until the 20th century, during the flourishing and diverse era of Western art, that "abstract painting" truly became one of the aesthetic criteria. This development began with the Cubism movement led by artists such as Pablo Picasso (1881-1973) and Georges Braque (1882-1963).

Professor Kuo Bor-Jou's abstract paintings clearly combine elements and landscapes from both Eastern and Western cultures. Through his use of black instead of varying shades of ink, splattering and emerging imprints, the distribution of stripes that intertwine reality and illusion, and the artistic expression transformed by the flow of emotions represented by dots, lines, and planes, he breaks through traditional frameworks. He combines the free-spiritedness of Eastern philosophical thoughts with the explosive forms of abstract and expressionist Western painting, which he encountered during his studies in the United States. He strives to merge these influences into his personal artistic style and open up a contemporary artistic and cultural space for himself, showcasing the creative effects evolved from a subtle balance of experiential practices.

Professor Kuo Bor-Jou's abstract paintings use a comprehensive medium to interpret a spiritual content context. His works exude the symbolic and expressive spirit of contemporary art painting, creating a profound sense of reflection and a desire to explore impactful human issues. The fusion of abstraction and imagery revolves around the artist's profound and thought-provoking goals. His artworks already demonstrate the language of self-reflection and introspection through the means of artistic expression.

Professor Kuo Bor-Jou explains his concept of multidimensional art creation as follows: "Multidimensional art creation has been my expressive technique for many years. Through the concept of being emotionally connected to my hometown and exploring the world, I attempt to convey the encounter between tradition and modernity, and the dialogue between the East and the West. By freely employing the strategy of Montage, I incorporate fragments of life or objects into my works, reassemble and collage images from different time and space backgrounds, filling the paintings with humor and the beauty of multiple images. At the same time, I possess an imaginative mind, presenting poetic imagery."

He further states that his recent works reflect his broad-mindedness and confidence in artistic creation after turning fifty. He seeks to explore Eastern aesthetic thoughts by returning to them after being deeply influenced by Western art education. He integrates Eastern literature, philosophy, and aesthetics, allowing the artworks to undergo continuous refinement, so that the "grandeur" and "charm" of the works can be displayed with even greater magnificence. This approach can be summarized as "focusing on the big picture, relaxing in the details, disregarding trivialities, and conveying vividness."

In recent years, he has expanded his expression from abstract paintings to ceramic art. Inadvertently, he has developed a series of captivating and dynamic abstract ceramic works with a distinct style, which unintentionally enhances his abstract creations and adds value to his abstract aesthetic perspective.

——Becky Choong