在形式化的意象上研究绘画，需深入到绘画因素的深层结构之中，抽象和半抽象绘画体现出艺术家对于外在世界的内在的综合体验和抽象把握，这种绘画方式需要对形式元素进行不断深入和反复地实践，那是看起来长期不断枯燥重复的形式修炼，艺术家从这样的过程中获得其独特的画面形式的语境突破，如英国艺术家克莱夫?贝尔在他的《艺术》一书中说的：“这种线、色的关系和组合、这些审美的感人的形式，我视之为有意味的形式。”这“有意味的形式”是感性与理性的自然融合，是艺术家在甚深的意识中与其生命本原、文化渊源息息相通后的创造结晶，是艺术家本心质地的自然流露。 
  
    郑根浩从绘画本质的知觉出发，探索绘画原发的纯粹形式，点、线条、色彩、肌理及画面的组织安排，通过色彩的运用，笔触的运动方向与节奏，材质肌理的厚薄等语言的运用，深入研究画面形式语言的内在关联性和结构方式，表达了作者对于世界的抽象的综合内在体验。 郑根浩的作品，在整体浑然中有着丰富生动的感觉，画面在明亮饱满中带着内在的力度，舒畅的画面节奏，和谐的均衡结构，材质肌理与色彩的运用，带着些许金石之味和古典华丽的东方意韵。
翻译：
    While studying the painting through formalized image, we need to penetrate into the deep structure of the painting factors. Abstract and semi-abstract paintings could show the artist’s understanding and handling of the external world and this painting required the author to research deeply and practise again and again. Those long term boring and repetitive exercises will bring very special breakthrough of painting language for artist, just as British artist Clive Bell wrote in his book of Art “I regarded the combination of lines and colours as significant form” . This significant form is the syncretizing of geist and logos, is the creation of artist, is the representation of the author’s soul.
Jung Keunho’    s paintings probe the pure formats of drawing, by organizing and arranging of point, line, colour, texture and structure he found out the internal relations of painting formats and expressed the author’s true integrated recept of the world. His works were integrated naturally as well as so abundant and vivid, bright, full and also potent, smooth rhythm and harmonious structure, nice texture and colour selection, classical magnificent oriental style was its spirit.