Zhou Yilun is very bold to abandon restraint, face to the most primitive and true instinct of human, and the desire, expansion, putridity and pretence that growing from instinct. He often put the images of animals and humans under the same scene by collage technique, or to dress animals in human clothing.He may wanted to save him own, or against, wave over wave of the desire to control support the entire screen. Desire and the destructor is existing in his works at the same time, and is displayed with a wanton attitude. It is not difficult to find the influence of Pop Art in Zhou's works. But at the same time, he smartly used the characteristics of various materials and his artistic sensitive to treat various of daily life items with appropriate expression. His paintings are keen to use common elements from everyday life, and to give unusual thinking and interpretation of them. To compared with the predecessors, Zhou Yilun has the advantage in his reflections on the rationality of modern Darwinism. To the orgie modern civilization, Zhou didn't show moral criticism as a moralist. He recognizes the desire is existing in himself, and to reflect the existence of such a desire. This is Zhou Yilun's torture about the social development process: human's society and other animals' communities are filled with paradox, same with the development of mankind, which is also filled with paradox.

Each work of Zhou Yilun constitutes latitude and longitude lines of his inner world. He is searching for the end of this world that was lost long time ago. As the modern people are lack of inquiring the meaning of life. God is dead.The other side of the world has been shut its door to this coast. The modren people threw their lives into the menigtes, emptiness and consumption. However, the light of disillusionment in Zhou Yilun's works is also reflecting his yearn for the hope of life.