周蒙的绘画以及电子作品，多用简单的构图和灵巧的线条，勾勒出富有韵味的画面。在对中国传统绘画的发掘的认识的过程中，蒙也不断受到西方教育的影响。那些多变，丰富的创作手段，都是对当代艺术自由的不断探索。当水墨在纸片上自然流淌，所呈现的是最自然朴实的语言，没有娇柔的修饰。这自然本性的创作中，寻得的是一周孤独的平衡，和无垠的广阔空间。

便是受到绘画大师Egon Schiele 和Jenny Saville的影响，蒙也希望继续以自由的形态表现人物形象，而非具象的现实表达。不同以往的是，蒙喜欢用虚幻的假想人偶作为创作对象。受到现代舞蹈和时装画的训练，蒙可以轻易的构筑出几乎真实的人物形象，却也不尽如现实，模糊了五官和性别。不拘泥于事物的本身，和其存在，蒙所创作的对象，是近乎朦胧的现实，虚幻中行走，也是一种逃避了真实的自由。

The paintings and digital works of Meng Zhou while simple and aesthetically beautiful reveal layers of nuance and complexity. At the heart of his work is an exploration of traditions of painting and style. Meng’s work attempts to merge classical Chinese painting with modern techniques and western styles. Many of Meng’s painterly styles aim to deconstruct classical modes of painting. Using a technique of dripping and dispersing ink across his image Meng gives a degree of autonomy to his medium while representing the malleability of his subject.

Drawing stylistic pointers from the likes of Egon Schiele and Jenny Saville, Meng attempts to capture the fluidity of the human body and to convey a sense of the living – a sense of movement. Although much of his work seems figurative his subjects are always borne out of fiction. They are composites drawn from a combination of imagination, collected images and anatomical research. Free of any context and identity the subjects seem to be suggestions rather than narratives or portraits. This ambiguity resonates in the often enigmatic titles of his work.