桃花才剛剛盛開，在一個不斷綻開的過程中，我們目睹了一個自由的心境的開放與延展。周的桃花不屬於物質世界，這注定了這個世界的不確定性，周春芽在好幾張畫布上同時或者先後展開他的塗抹。沒有時間表，但有衝動；沒有計劃，但有結果——所有表現來自藝術家的自由的心境，將周春芽的繪畫作任何歸類的努力都缺乏藝術上的正確性，就像我們不必將倪雲林的山水歸納為寫意一樣，認識和理解心境需要的是直觀而不是概念，藝術家是在没有任何概念的情况下塗抹出桃花的，我們也應該在觀看的過程中清除已有的陳見，這樣的结果是，作為觀眾的我們與作為叙述者的藝術家在桃花的世界裏相遇和對話。

The cherry blossoms have just bloomed in this work. In the process of blooming, we witness the extension and diapark of a unrestrained mentality. Zhou’s peach blossoms do not belong to the material world, which is doomed to be uncertain. Zhou starts his painting on quite several pieces of canvas, either simultaneously or in sequence. No schedule but only impulse; no agenda, but there are results -- all the expressions come from nowhere but the artist’s free mentality. Ni Yunlin’s landscape painting may not be labeled as freehand brushwork in traditional Chinese painting, and Zhou’s paintings may also object to such labels. Mentality is not interpreted by conception, but by instinct, with which the artist has brushed out the peach blossoms. As a spectator, one should eliminate stereotypes when appreciating his works. Only in this way could we encounter the artist in his paradise of peach blossoms and have a dialogue with the narrator.