These undertones are concealed in the exquisitely embroidered work, 'Shanghai Tang Café', which is inspired by the décor of the actual Shanghai Tang café in Shanghai.  The brilliance of the colors enliven and activate the narrative, scattered with objects alluding to childhood memories(piggy bank, bicycles), furniture and other eccentric items one would find at the café.  The two Chinese women are the prime features, one looking into a mirror with the reflection of a Caucasian woman peering back, emphasizing the standards of beauty.  The other, looking at a picture of Superman, underneath which is a barely visible playboy magazine, doubly implying the consideration of notions of beauty in China.

In addition to social influences, Tsai also grapples with the consequences and effects of modernity in China.  In 'The Retirement', he portrays an animated scene where notes of money are flying around and young children seem to be having an abundance of fun.  Making the connection between the rapid rise in wealth and materialism in a culture with its effect on a younger generation.  However, due to the comical and amusing nature of his work, criticism or judgment is not evident, rather simple observation and playful jest characterize his intent. 

In one of his particularly comical creations, 'Pokémon go in China', comic book heroes are depicted struggling, on a minuscule scale, and have been given dragonfly wings.  They seem to be attempting to avoid capture by Chinese women, (who are playing Tsai’s version of Pokémon Go) or rescue Wonder Woman who is caught in a cage, and all the while Captain America’s shield is floating down stream.  The use of humor and socially current subject matter engages viewers make the work more accessible to a wider audience. 

Similarly, 'The Artificial Intelligence' uses the stereotype of the old (presumably wise) man pitted against a robot, to illustrate the divergence from ancient wisdom towards a futuristic technological train of thought.  Made from porcelain and adorned with floral patterns, the delicate material of the work translates to the fragility of the concept of artificial intelligence and the unreliability of technology.

Shanghai, and only left China to obtain his Masters degree from Central St Martin’s in London, where he is now based.  Effected by two nations, it is no surprise the theme of cultural exchange is so pervasive in his work.  He is a young millennial Chinese artist, trained in print, multimedia, and fashion, most well known for designing Alexander McQueen’s iconic floral skull motif. Tsai is exemplary of the trend of contemporary artists blurring the lines between art and design, and is skilled in a diverse range of visually creative mediums.  In 2011 he set up his own fashion line, and has worked in collaboration with Harvey Nichols, Lane Crawford and most recently Shanghai Tang. His commitment to traditional materials and aesthetics reflects the strength of his connection to his heritage as well as his dedication to informing younger generations.  Through humorously fusing two cultural extremes and referencing pop culture, he also makes art more accessible to them.