Paul Chiang's early works mainly use gray and black tones, and emphasize the layering and texture of the paints. Works from this period are also known as his "blocked window works." Since his return to Taiwan, he has completed iconic series such as "Hundred Year Temple" and "Silver Lake." In 2008, he moved to Taitung, where the bright natural light and the seaside aroused a different side of his creative imagination, prompting him to explore and find the most appropriate ways to respond to color, creating the colorful series "Pisilian," "On the Wings of Song," and "Jinzun." His painting style has shifted from somber, minimalist, even monochromatic compositions to ones that express contemplation and observation of nature and the experience of life through the use of color and brushwork.
Wang Shi-lang's works, building on his anarchic tendencies, were rife with critique of realism as a style, and he used his short fiction to depict the stories of social activists, laborers, bank tellers, prostitutes, and other such people. Combining his personal experience and the times in which he lived, his writings reflected the reality of society and the sometimes brutal repression of social movements. After the war, he branched out into children's literature, folk stories, Taiwanese folk culture, and the people and history of Taiwan. His writings on children’s literature have proven a tremendous contribution to the study of Japanese-era history and folk culture, earning him the sobriquet "Taiwan's Hans Christian Andersen."