The "Eclipse, Ellipsis, Ellipse" series features a crossover of abstract, minimalist patterns of "ellipses" painted by Western and Chinese hands. The twelve paintings share a simple motif of two to four black ellipses over a white background. The ellipses in various sizes and shapes complement or "eclipse" each other, making a unique composition of patterning for each of these paintings. Each composition is duplicated into a pair of Western and Chinese twins, by oil on canvas and ink on rice paper respectively, for a metaphorical comparison and contrast of the two cultures, and their different perceptions of beauty. The Western hand manages to let full, stark ellipses stand out in clear, smooth-edged, oily black form against the white background, while its Chinese twin has the same pattern of ellipses but handled in a subtler manner, by dashing bold, circular brushstrokes on rice paper. This technique of traditional Chinese calligraphy allows the ink to slowly diffuse its way on the thin paper, naturally creating sketchy form and a gradient of black tones, with some parts darker, some parts lighter, and some white traces of "ellipsis" in each ellipse, leaving some space for imagination. 吳惠群在「日蝕 …… 橢圓」一系列中，分別以中、西式畫法演繹十二幅極簡抽象派油畫/水墨畫。每幅畫都由二至四個不同大小的黑色「橢圓」組成，有著各自不同的構圖和佈局。這些橢圓像「日蝕」時投在太陽上的黑影，在空白的畫紙上互相交疊、填補，構成獨特的藝術圖案。 每一組橢圓圖案都有油畫和水墨畫兩個板本，作為一種中西文化和審美觀的隱喻性對照。西洋畫法用油亮的漆黑色填出豐滿圓潤的「油畫橢圓」；圓滾滾的邊壓在白底色上，橢圓的輪廓被清晰而深刻地勾勒出來。用傳統的中式水墨畫法處理同一組橢圓圖案，則表現得較含蓄有致。先往邊落墨，用畫圓圈的筆法向內回掃；用這書法筆觸讓水墨在薄薄的宣紙上滲透、流動，自然地釀成不同深淺、有層次感的黑色，令天狗「蝕日」般的「水墨橢圓」保持一點點留白的想像空間……