面對戴翰泓這樣一位實作能力強，同時又兼具建築空間概念以及強調觀念性藝術創作的藝術家而言，用一般的分類法去看待他的創作，並無法得到與期望中一致的結果，換句話說，戴翰泓的創作類型是難以定義的。 以戴翰泓的學習背景來看，具有工業設計、建築背景，同時又涉足藝術創作，兼之拜師學習木作與漆藝，難怪無論從他的雕塑作品、空間設計或是動力機械裝置，或從技巧的表現、材質的掌握乃至於空間感的呈現，多樣化的形式與作品文本儘管讓人感到難以歸類，卻總在觀看他作品的當下感受到樸實而清新的特質。
戴翰泓的創作具有一個非常根本的架構——即從生活經驗汲取靈感，並透過手作的形式轉譯，這個架構在近期於樹火紙博物館舉辦的個展「大發好載」有清楚的呈現。展覽裡，戴翰泓因合作單位的背景而使用紙做為主要的創作媒材，他選擇具悠久歷史的拓印技法，將自己駕駛多年（且才剛發生車禍）的小貨車的外觀拓印於紙上。單就拓印之物與藝術家的關係而言，來自於生活經驗的轉譯散發著鮮明的氣息；就媒材與技法的使用觀之，藝術家透過拓印的形式，以身體與對象物直接碰撞，透過紙為媒介將生活的痕跡轉印於上。無論是關於生命經驗的思考，探討人（通常是觀者）與空間的關係，又或者是強調透過手作以傳達觀念性的表現，戴翰泓的藝術思維，從來都是以傳統的根基，透過散發的、跨越界線的創造性觀念而展現出來。
這一點，在戴翰泓的雕塑作品中尤有清楚的呈現。
戴翰泓在〈柱子椅子〉、〈樹木板凳〉與〈厚青春—2011自我造像〉等雕塑作品中，探討空間反轉與材質之間的辨證關係，以極為簡單、明晰但卻又內斂的形式做為主要的藝術語言。戴翰泓僅僅在作品中反轉物件的外觀即翻動了物件與其周圍的內／外空間（〈坐在圓凳子裡面〉），又或者是以造形延伸並同時區隔同一塊材質（〈柱子椅子〉、〈樹木板凳〉），讓作品辨證其自身。輕盈的手法讓藝術家得以不斷探詢藝術與空間的本質，同時也讓觀者能夠進一步思索在藝術與日常生活之間的界線究竟在哪裡。
在2014年的〈毫宅計畫〉，戴翰泓在東區地段的商辦大樓大廳，將一個個載有小房子造形的木雕擺放成台灣的形狀。這件作品在形式上看似輕鬆且帶著些許取悅觀者的幻覺，但藝術家實際上是透過在房產精華地段「蓋自己的房子」的手法，諷刺並批判台灣房市不斷被炒作飆漲的現象。戴翰泓認為藝術家必得對其所處的社會有所關心，然而表達的方式未必要直接衝撞體制，而是將其思維寄託於作品中激發觀者的感受。這也是〈毫宅計畫〉在看似輕盈的形式下，同時又帶著些許沉重感的緣故。
戴翰泓的創作形式多元，他在表現出優異的手作能力的同時，也輕巧地探問藝術的本質、物的本質與空間的本質，偶爾也以詩一般的藝術語彙對已然被異化的生活發出抗議的聲響。戴翰泓的靈感源自於生活，並反向以創作詰問生活，他持續以創作反複辨證，讓藝術交錯來去於其自身與真實生活之間的界線。
（藝術家雜誌 483期 2015.8月號，p206-207)
Pursuing the Essence of Things, Art, and Life — Tai Han Hong’s Artistic Creations / Chuang Wei Tzu
Tai Han Hong is an artist who possesses great implementation abilities and strong architectural concepts, and who also stresses conceptual artistic creation. One cannot view his work using ordinary classifications and obtain expected results. In other words, the category to which Tai’s creations belong is hard to define. From Tai’s educational background, we can see that he has received training in industrial design and architecture. He also is involved with artistic creations, and has apprenticed under a master carpenter. Every aspect of his work — from the sculptures, interior designs, mechanical installations, to the display of techniques, mastering of materials, and even his demonstration of a sense of space — is versatile and contextual. While one may find his work difficult to categorize, when viewing his work, it is no wonder that one will always feel its sincere and fresh characteristics.
There is one fundamental framework for Tai’s creation — to draw inspiration from life experiences, and to translate them through the form of craftsmanship. This method was vividly demonstrated in his recent solo exhibition “Daihatsu Hijet” at the Suho Memorial Paper Museum. Due to the background of the museum with whom Tai collaborated, the artist used paper as his main creative medium. Choosing to employ ancient rubbing techniques, he rubbed the exterior appearance of his trusty van (which just prior had been in an accident) onto various sheets of paper. If one looks at just the relationship between the rubbed object and the artist, there is an unmistakable air of the artist translating life experiences. In regards to the artist’s use of media and technique, he used the form of rubbing to bring the body and the object into direct contact and printed the vestiges of life onto paper. Whether it deals with thoughts about life experiences, exploration of the relationship between human beings (usually the viewer) and space, or expression that stresses the conveyance of a concept through craftsmanship, Tai’s artistic thinking has always taken root in tradition. It is through a diffused and transcending ideology of creating that he fulfills his artistic practice.
This aspect is clearly demonstrated in Tai’s sculpture works.
In his sculptures Pillar Chair, Tree Bench, and Heavy Youth-Self-Portrait 2011, Tai investigated the relationship between inverted space and materials using concise, clear, and reserved forms as his main artistic language. By simply inverting the appearance of the object he can also invert the surrounding interior and exterior space (as can be seen in Sitting Inside of the Stool). Alternately, he might extend the form and simultaneously separate the same piece of material (as seen in Pillar Chair and Tree Bench), thus allowing the work to investigate itself. His agile methods permit him to continuously probe at the intrinsic qualities of art and space. At the same time, his work allows the viewer to further explore the exact location of the line that separates art and daily life.
In his 2014 solo exhibition “Unluxurious House Plan,” on the lobby floor of a business building in the eastern district of Taipei, Tai placed various wooden sculptures that sport house-like structures on their tips; together, the structures formed the shape of Taiwan. This work seems lighthearted in its form and possesses some illusion that pleases the viewers. However, by “building your own house” on the most coveted district in the real estate business, the artist is actually satirizing and criticizing the housing market that has been blown out of proportion. Tai believes that, as an artist, one must show solicitude for the society. Yet, the method of expression need not clash directly with the system. The artist need only entrust his or her thinking to the work and allow it to stimulate the viewer’s perception. This is why, beneath the lighthearted form of “Unluxurious House Plan,” there is also a slight sense of heaviness.
Tai’s forms of creation are versatile; beyond displaying excellent craftsmanship, he also lithely probes at the essence of art and objects as well as the intrinsic qualities of space. Sometimes, he protests against alienated lifestyles with an artistic language that is poetic. Tai’s inspiration comes from life and he, in turn, scrutinizes life with his artistic creations. He continues to investigate life with his art and allows art to traverse the line between himself and real life.