兆良就像一個長跑的運動員：踏著自己的節奏，每一步都向前進，而且愈跑愈有勁。兆良畫畫也像運動，賽場是畫紙，運動員是他手上的筆，賽道就是畫面上的線條。他描畫任何事物，總會先選出一個定點，然後眼睛和畫筆就開始起跑，眼睛追蹤著圖像的輪廓線，畫筆在另一張紙上起步，勾劃軌跡。正因被專注力不足影響，兆良不經意地創造了這種獨特的繪畫方法。

 

斷斷續續地觀察，兆良會把人物身體不同的部位分拆成一截一截地繪畫，造成變形的身體和扭曲的造型。他再用油粉彩像拼圖般在畫面的不同區域填色，然後加上黑色線條，勾畫出主題和背景，令整個構圖分明同時充滿動感。兆良的畫，即使靜態，但就像捕捉了瞬間，總會隱藏著一種流動的感覺，一股潛在等待釋放的能量。

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In his creation, Siu-leung is like a long-distance runner. He runs with his own rhythm, progressing step by step, getting stronger and stronger. It seems that he is doing exercise when he paints. The painting paper was the sport ground; the paint brush was the runner and the lines on the painting paper were the track. Whenever he paints, he will first locate a base point of the object he picks. Then his eyes and the brush will start to run: the eyes chase after the outline of the image and the brush will outline the trajectory he observes on a piece of paper. Therefore, even though the object painted is still, a sense of flowing is always felt as if it is hidden underneath, and it is a latent energy waiting to be released.