周育正的作品大多以大眾媒體中的圖像或是其生產機制作為主要的批判對象，而今日數位影像益趨充塞著我們的視界的時刻，我們的知覺經驗又是如何地接受、排拒、懷疑在這些圖像生產模式底下的目的性。對此，周育正的影像呈現並非採取直述的或是明顯的諷喻表現，相反地，在作品裡，有的影像充滿了詩意性，有的則僅是些微的改變那些挪用而來的圖像符號，讓問題自己浮現出來。而他的影像使用也早已脫離一種普普對於現代主義的抵禦或是一種聖像式的圖像操作。

對他而言，這些身在我們周邊的影像早以成為今日的一種風景，有別於自然景色，這些為我們所接收、使用的圖像正一點一滴的改變著人們對於世界的體驗與意識型態，因此，他的作品也像是一種田野工作，他試圖指出潛行在大眾圖象之下的韻律或是結構性法則。影像科技的進步也意味著一種視覺經驗的革命，熟稔於數位影像技術的他，也試圖創生出虛擬的風景意象，在他的影像作品中，有時直接地挑戰著我們的感官經驗，但也時而欲喚醒我們真實的所在。

he works of Chou Yu-cheng mainly criticize images in the mass media and the way in which they are produced. Today, with digital images practically everywhere we look, the artist looks at how our perceptual experience accepts or rejects this situation, expressing concern at the objectives behind the production model that produces these images. In this context, Chou’s images do not offer a direct narrative or clear satire, in his works some images are imbued with poetry whilst others are just nothing more than slightly altered images or semiotics from elsewhere, an approach that allows the problem to slowly reveal itself of its own accord. Indeed, his use of images has long since strayed from the opposition of pop art to modernism or the manipulation of iconic images.

For Chou Yu-cheng the images that surround us have long since become part of the landscape of today. Where they differ from natural landscape is that is that the images we accept and use are bit by bit changing our experience and ideology of the world in which we live. As such, Chou’s works can in one sense be viewed as a field study, as he attempt to point out potential the hidden rhythms or structure of public images. Advances in video or imagining technology also signifies a revolution in visual experience and through his familiarity with digital image technology the artist attempts to create a virtual landscape. Although his image works sometimes directly challenge our sensory experience, Chou sometimes also seeks to wake us from our reverie to show us the existence of truth.