由自我出發的探尋道路，生命歷程的轉化。藝術家一直追求內化的理想世界，不斷向內心的沈寂敲門，傾聽自己的聲音。而對董心如而言，畫面間滿是面對形式的熱情與極限的探尋、詩意般細膩的風格如同本人氣質的展現。
一直追求從自身出發的人文氣息繪畫，在精神性的彼岸開花、結果。
細細咀嚼下，未必會形成滿佈的靜默而全然空靈。在此岸與彼岸之間，最後觸碰到的、輾轉反側的，是一個難以吞嚥的果核。所以，一幅作品之所以引人深思在於不管是藝術形式也好，藝術內容也好都同出於創作者的身體和心靈，皆須面對精神性的問題。在不同時間不同地域不同畫家身上，都存在著因「具象」而帶來的局限。也就是內心表達與外在形式之間的矛盾。
作為觀者，隨著視覺所及的畫面及無處不在的自然景象、精神性的表現在董心如的畫面中流瀉而下，是種再舒服不過的抒發。藝術家將易懂的內容和不容易說出及說不清的東西，經由自我生命的探索，透過創作形式轉化成為其意念邅遞的橋梁。彷若微光溢出於彼岸的幽微處，縫隙中開出的智慧之花。
An exploration from the ego triggers the transformation of life courses. Having been pursuing an internalized ideal world, the artist keeps knocking at the door of innermost quietness and listening to the voice of oneself. Abounded with passion towards art form, quest for limits, and an exquisitely poetic style, the general appearance of the art work exemplifies nothing but the temperament of Tung Hsin-Ru.
Transpiring humanistic breath from one's inner world, the artwork ferries us spiritually to the other shore with a paradise of spectacular blossoms and clusters of fruit.
Careful rumination reflects more than quiet restraint from complete silence. The last thing lying between both shores is a kernel cannot be chewed on but causes jerks and twitches. A conclusion can be drawn that a thought-stimulating art work, irrespective of its art form or art content, comes from the physical and spiritual inner of the artist with spirit as the key. Arising from contradiction between inner expressions and outer forms, limitations from concreteness exist in artists of different times and regions.Flowing from Tung's artwork, the ubiquitous natural scenes and spiritual representations convey utmost visual enjoyment and relief as they meet viewers' eyes.
With art forms as media and self-exploration of one's life as an approach, the artist communicates explicit content as well as implicit and ambiguous ideas to viewers. Dim light seems to be visible from the gloom on the other shore resembling a flower of wisdom popping up from the crevice.
