Wangxuhan在这一期所展现的作品，都统一的展现了一个内核：瞬间之外的命运。

无论是从摄影穿插拼贴这种打破传统线性叙事的技法上还是思想内核性上都是如此。作品中可贵的一点是:利用了类似于立体主义的富有空间性的叙事方式，在影片中尝试多维度的呈现一个实体。在作品繁复的视觉符号之下的，一直都有着“永恒的”，遵循着某种形而上规则的命运系统。虽然观者似乎并没有在作品中直接窥见命运系统本身，但依然可以透过这几组作品的表象洞见到那永恒系统的一角。

当然，这一系列作品也具有人文价值，作者多次使用道教和命理学等具有东方地域色彩的观念和符号丰富作品的层次和架构。此外，从作者自己对于作品的描述来看，他对于超然的事物，规律，真理和命运等，有着深邃和敏锐的洞察。 

River of Destiny by Wang Xuhan in this feature of DART Magazine shared an idea of fate beyond the moment.

This idea manifests both in the technique — breaking traditional linear narrative through a combination of photography and collage — and in the conceptual core of the works. A key strength of this work is their use of a Cubist-like style of storytelling, creating a sense of space and exploring different dimensions of a single subject within the film. Beneath the complex visuals lies an eternal system of fate, guided by unseen metaphysical rules. While viewers may not directly see this system in the works, they can sense glimpses of it through the layers of meaning.

These works also carry cultural and human significance. The artist uses concepts and symbols from Taoism and Chinese metaphysics to add depth and structure, bringing in a strong Eastern perspective. From the artist’s explanations, it’s clear he has a sharp and thoughtful understanding of higher truths, patterns, and the idea of fate.