畫家朱興華說生命中的瞬間最讓他動容，他形容為「instant of life」。日出日落、植物生長、萬物的一呼一吸皆是生命展現在瞬間。
從沒受過正式的藝術教育，朱興華當了二十多年精神科護士，繪畫都是自學而成。一直都是業餘畫家，直至一九九二年退休始成為全職藝術家。心理科護士的專業背景造就了朱興華畫中獨特的風格 —— 似是寧靜安穩又彷彿哀傷寂寞。醫院中病人扭曲的身體及精神狀態，對他來說沒有異於常人更不會以奇怪或同情眼光視之，反而是云云生命中的瞬間。他畫中的人物姿態都不太日常但面容卻安靜，總是雙腳胖胖跟身體有著奇怪的比列。像《媽媽和她的孩子》似是在沙灘中嬉戲，卻沒有那種日常喧鬧的氣氛，背景的兩個身影，不知是誰，也不需要知道是誰，安靜地玩耍不打擾別人便好了。《歸家》中那個背影，似是在畫中凝住的一刻於雪中慢步前行。朱興華畫中細小的人物像被景觀包圍著，他愛畫細小的人物，大幅度的景觀是留白，是畫家給觀眾感受畫意的空間，那些是色彩繽紛的留白。
Chu Hing Wah, a painter, says what moves him the most are the moments in our lives. He refers to them as “instant of life”. Sunrise and sunset, the growth of plants, and the inhale and exhale of all living things are without exception life presented in moments.
Having worked as a psychiatric nurse for more than two decades, Chu Hing Wah has never received formal education in the discipline of arts. A self-taught painter, he had been an amateur painter all along, and it was not until 1992, when he retired, that he became a full-time artist. His background as a psychiatric nurse has contributed to the unique style of his paintings — seemingly tranquil and peaceful, and yet melancholic and lonely. He sees the twisted bodies and distorted minds of hospital patients as ordinary, and he never looks at them in a strange way nor with sympathy. Instead, he treats them as moments among the multitudes of lives. The figure of the characters featured in his paintings is out of ordinary and yet they all have calm facial expressions, with slightly flabby legs that have a weird proportion with the rest of their bodies.“Mother and Son on The Beach” seems to depict a scene of fun on the beach but with the absence of the ordinary jolly and noisy atmosphere. The two figures in the background are unknown individuals, but there is no need to know who they are as long as they play quietly, without disturbing the others. The back of the figure in “Homecoming” seems to capture a frozen moment of stepping slowly forward in the snow. The little figures in Chu’s paintings seem to be surrounded by the landscape. He loves to draw small figures, and the large portion of landscape is there for leaving a blank so as to give spectators some space to feel the pictorial meaning. They are colorful blanks.
Neither the sceneries nor the individuals depicted in Chu’s paintings are realistic. Rather, they are bits and pieces of life happenings stored in his brain or his views on life. In recent years, he has added calligraphy to his paintings because painting alone falls short of enabling him to fully express his feelings towards some things. Take wars for example. He recalled his father telling him about how wars destroyed families, and in recent years, he has also read about various war situations in the media. He then used calligraphy and painting to paint and describe wars, which he has never personally experienced and yet are always happening. “The Song of War” is his large-scale calligraphy piece, in which he draws an analogy between the song of singing voice and explosion, and between light and flame. “Are We Born for War?” echoes the calligraphy in the former piece; under the deep blue sky, one cannot distinguish between flame and fireworks.
Chu keeps saying that he is already old and thus he always has a lot feelings towards life. Even though he is more than eighty years old, he does not intend to quit painting just yet. He notes that as living human beings, we have to live, and to live, we have to work. His two latest pieces titled “My Beloved Home: ST Charles Hospital” “ and “To Live, We Have to Work” conclude his state of mind in recent years. The former is about his visit after retirement to St Charles Hospital in the UK, where he acquired nursing knowledge in his youth. The latter is his depiction in recent years of the life of people from all walks of life.
“To live, we have to work, and whether the job is good, bad, high above, or down below, we still have to work…” writes Chu in the painting, based on his survey of life.