Long's current artistic practice is centered around a poetic process of converting words, or "artificial traces," into images through Preconsciousness. His aim is to convey an unstable equilibrium between image and text, as well as spatiality and temporality. This approach is similar to metamodernism, which is a descriptive philosophical interpretation of postmodernism that embodies the coexistence of two opposing concepts.

 

The inspiration for Long's artistic practice initially came from the Portuguese concept of saudade, which connotes a powerful feeling of melancholic longing and a constant yearning for presence. He attempted to comprehend this concept through a poetic lens. Long's Lyrical abstraction on canvas is reminiscent of traditional Chinese painting, where images and words are intertwined, but devoid of coreferences to make them more universally relatable.

 

For Long, words serve as a tool for expressing individual needs and desires. He believes that highly condensed forms of language, such as poems, lines, and online comments, can evoke punctum (as defined by Roland Barthes) in the same way that images do.

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黄龙的作品是以画布的形式去呈现以前意识指引下创作从文字（人为痕迹）过渡到图像的具有诗意的自我填充的过程。他希望表达图像与文字，空间性与时间性上的一种不稳定的平衡。就像元现代主义对后现代主义的一种描述性的哲学阐述，表达了两个相反的概念和它们的使用的同时性.

 

起初，黄龙创作的灵感来源于通过日系爵士嘻哈产生的一种类似于Saudade（恍然若失）的情感， 由此他尝试从文字以及诗词的角度去理解这种乡愁存在与未知的矛盾感。在画布上抒情抽象，就像中国诗画中，图像与文字相结合，但又可以去除指代性，像音乐一样共通。

 

文字，在他看来，是一种用于表达个体需求及欲望的方式的人为的痕迹。诗词、电影对白、小说，甚至是网络评论，作为一种高度凝练的语言形式，都会对他产生像对图像的刺痛 。