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您曾經享受過麗美中心的服務，《模糊時尚》必定能夠進一步協助您完整地了解您所體驗過的，身、心、靈上不同層次的祛毒與美容療程服務。
如果您不曾親臨麗美中心，那麼特別為麗美中心限量發行的《模糊時尚》也必將為您開啓一個全新的美感驗證之旅。
從此刻開始，這趟以美之名的旅程，將以最細膩的方式，帶您造訪一個絕對的美麗境界。
If you have ever enjoyed the services of A Beauty Centre, then you would find Vague Vogue helpful for your further understanding of how the detoxification and beauty treatment have benefited your body, mind, and spirit at different levels. Otherwise this limited-edition publication, specially issued by A Beauty Centre, will embark you on a new and authenticating journey of aesthetic experience and a delicate expedition that promises an absolute state of beauty.

過去人們以「真、善、美」要求藝術，但是在今天這個物慾橫流，商業掛帥，美與品味充滿陷阱的世界裡，這樣的單純美好如何維繫？是否足夠？《麗美中心》因應這樣的當代語境而生，試圖在一個充滿假像（和假新聞！）的虛假世界裡提供人們一些探究美麗與虛實的真體驗。
創辦人刻意通過各種美容與藝術手段製造了一個個物與非物之間的多重矛盾以及它們之間的相互祛毒、消解，專門從感知與物理管道出發來連結前來體驗療程的客戶們的注意力，並同時給予 他們一道道視覺與感知上的難題。
在這裡，一切似乎都似是而非，療程中客戶一踏入麗美中心 便盡見詩意與曖昧--面前站著不是美麗裸體的美麗裸體，腳邊一灘不是水的水，眼裡一叢不是雨林的雨林，空間中擺著不是桌子的桌子，牆上掛了不是時裝的時裝，而最終他們發現自己身處不是美容院的美容院，而《麗美中心》則是個不僅展示藝術的藝術展，不怎麼當代藝術的當代藝術展，不只有雕塑的雕塑展（您目前正讀著的或許是一本不是雜誌的雜誌）?在這一連串的是與不是之間，《麗美中心》旨在形成一個意義自由生產的異域，一切都有可能，美容師和客戶都在療癒與施療中各自尋求解答，而觀眾、藝術家、藝術物件、展覽場地甚至是出版物都得以互為主體，在各方的相互觀視下彼此豐富。
In the past, people demanded that art should be about “truth”, “kindness”, and “beauty”, but the world today is filled with material greed, led by commercial needs, and covered with false beliefs of superficial beauty and taste, would these simple virtues be good enough? How could these qualities be maintained? A Beauty Centre was born of such contemporary context as an attempt to provide people with real experiences through exploring beauty and reality in a false world full of fake images (and fake news!). Through various beauty and artistic means, the founder of A Beauty Centre deliberately created multiple contradictions between objects and non-objects in his spaces, so that opposing elements negates one another to achieve “detoxification” for the clients. Special effort has been made, on both the perceptual and physical levels, to connect the attention of clients who have come to experience the treatment, while presenting them a series of visual and perceptual questions to ponder. Here, poetic ambiguity is part of the therapy from the beginning, everything they encounter seems paradoxical, they see in front of them beautiful nude statues that are not “beautiful” nor “nude”, they pass by pool of liquid that is hard and dry, but walk into columns of soft rain without getting wet. They come across a table without a stable surface for holding things, while appreciating fashion displays on the walls that are not fashionable. Eventually, they find themselves in a beauty salon that is not a “beauty salon”, while A Beauty Centre is an art exhibition that is not “art exhibition”, contemporary art that is not “contemporary art”, sculpture exhibition that is not “sculpture exhibition” – at this moment, you may be reading a magazine that is not a “magazine” ... Amidst these baffling affairs, A Beauty Centre aims to become a unique arena where meaning would be able to proliferate freely. Everything seems possible here. As the beauticians and the clients seek answers and solutions together during the process of therapy and healing, audiences, artists, the art objects, the very site of the centre itself, and even this publication all become inter-subjects that enrich one another during the mutual exchange.

《模糊時尚》除了收錄「麗美中心」裡最相關的經營理念，和創辦人所精心雕鑿的，文字型態上的「美 麗概念」之外，更特邀藝術界的評論家來為觀眾進一步挖掘與釐清有關美、藝術、和與之相關連的機制界定等議題。
In addition to the most relevant business ideas and “beauty concepts” meticulously carved by the founder of A Beauty Centre, Vague Vogue has also invited important critics in the art industry to further extend and clarify issues related to the definition of beauty, art, and the related mechanisms for the audiences.


《麗美中心》先後在新加坡藝廊與台灣美術館成立，加上《模糊時尚》如今的出版面市，楊子強總共花了近十年的時間和心力，希望通過雕塑物件、美容祛毒療程與藝術閱讀的聯盟，在個人創作、當代藝術機制與商業模式的範疇中，重新審視「美」、「藝術」、「藝術品」和我們的關係。
A Beauty Centre was first established in Singapore and later in Taiwan, with the special publication Vague Vogue available now that makes the oeuvre complete – it took Yeo a total of nearly ten years for all these. By bringing together sculptural objects, beauty and detoxifying treatment system, and art reading in alliance, he hopes to re-examine our relationship with "beauty", "art", and "artwork" through the scopes of personal creation, contemporary art mechanism, and commercial business model.
以此來看，楊子強的〈麗美中心〉便是他藝術生涯的一張大型羊皮重寫紙(palimpsest)，上面除了刻滿他個別作品在不同時期出現過的或清晰，或隱晦的版本痕跡，也隨時預備著將來可能被疊加上新的標記，因此，我們從《麗美中心》便可探尋楊子強的個人藝術軌跡。
他是在不斷地通過物質與形體物件為自己的雕塑家身份做表徵時才悄悄地跨越了雕塑的藩籬，而「傳統」和「雕塑」在這裡並不是消失了，而是幻化了。
如果我們將《麗美中心》總結為一場藝術家對物件、物質／材料、美學與藝術範疇、以及體制的提問，那我們該關注的或許不是美術館是否有決定什麼是「美」的權利，或藝術家是否還能決定自己作品的意義，而是藝術物件本身究竟蘊含什麼能力？
如果《麗美中心》是提問，但願《模糊時尚》是助您尋找答案及通往謎底沿途中的門徑、驛站與風景。