Lee Kuang-yu's sculptures bring out innovations from tradition, his experiences derived from traditional eastern aesthetics; he brought the essences from Zen and Tao into his life and further merges them with his creations. His profound Buddhism experience made him start off from his intuition, prone to discover his own positive values. To him, the passing of time is like a road stretched to an unknown destination, and it has always been his major concern in life, that's why his sculptures relect the changes of his different moods.

Though he thinks that Western contemporary art dominates how the trend of art goes, but if the market is being over-controlled by people, the focus might shift from spirit essences to objects, and eliminate the traditional cultural values and primitive aesthetics of art in such a lost and fragmented era. He thinks that he's a believer of fatalism, he's like a pendulum that never rests. Thanks to the art creation process, giving him a chance to steel himself and make a self-examination. He utilizes the "empty and full", the concept emphasized in Zen, and their complementary relationship into his sculptures, experienced spiritually, and puts the philosophy of life into practice. He interacts with his works through the Buddhist practice of body, language and meaning, and further surpasses himself.

Lee Kuang-yu's sculptures carry the warmth and heat from the artist's emotions, the work "Mudra" is like a ine shaped fair lady who delivers affectionate love and caring through the gesture of her hands, it even relects meditations of all human beings, the lengthened, transformed and deconstructed hands don't keep us at a distance, on the contrary, they reveal a sober feeling that touches the viewers deep within, and this is Lee Kuang-yu's aesthetic of meditation.