谢天卓习惯运用传统的绘画材料表达自己臆造的景象。他时常描绘一些乌云密布，凌乱不堪和杂草丛生的宏大场景，而画面之中的“焦点事件”又隐隐指涉一些周遭无处不在的诡异现实。在这些场景之中，一位拖着疲惫身躯无家可归的失神少年郁郁寡欢的藏匿于乱象的一处角落，百无聊赖，彷徨而又迷茫。在他的作品中时常出现古人对山石树木云水的习惯表达同时不难看出书写性用笔对他的影响，因此读他的作品很容易联想到那些可行可望可居的传统山水，但整个的精神气质却又让人联想起那些有着哥特之风的暗调插画。从某方面说选择某种材料进行创作具有偶然性，重要的是能否忠实于自己内心的表达，谢天卓的作品正是在这一问题上做了很好的诠释。

Xie Tianzhuo uses traditional painting materials to realize the scenes created in his imagination. He often sketches patches of dark clouds, unorganized scenes reminiscent of scattered hay or overgrown jungles. The “main event” in the paintings is hidden the ever-present strange reality that is revealed. In these scenes, an exhausted, homeless, confused young man is wedged into a corner of the chaos, pacing back and forth yet lost. In his works, we often see mountains and rocks treated in the same fashion as ancient classical painters once did, with the impression left on the artist by the calligrapher’s brush readily apparent. For this reason, through viewing his works it easy to reminisce about natural scenes that can be viewed, but can also be walked through or even lived in, yet the spiritual quality of his paintings, on the other hand, has a much darker, even Gothic characteristic. In a way, the choice of a certain media in which to work is somewhat random, yet it must be able to honestly express lies inside in the artist’s heart and mind. In Xie Tianzhuo’s paintings, we see how choice of media is crucial in allowing an artist to fully express himself.