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Lot Essay
Hsiao Chin was born to a distinguished family in Shanghai in 1935. The artist lived through multiple tragedies in his life, repeatedly losing loved ones. As a result of these tragedies, he became dedicated in his exploration of Zen Buddhism, Tao Buddhism and Western mysticism. His art creation is reflective of his investigation of the meaning of existence.
"For me, the most important part of painting is not "painting" itself. It is the journey one goes on in trying to understand the sources of life, in trying to record the feelings and experiences of life and in trying to express their outlook about life through painting."
-Hsiao Chin
Executed in 1970, Nuovo Corso- 7 (Lot 3381) is a quintessential example of Hsiao Chin's work from this period. During this period, the artist incorporated acrylic paint into his creations. NuovoCorso- 7 demonstrates Hsiao Chin's playful treatment of geometric shapes, composition and acrylic paint. Undoubtedly, the artist's creative process explores the notion of using rational thought in painting.
Hsiao Chin's works are distinct from those of Western Minimalist artists, as he appropriates Chinese painting traditions in his works by inserting his own "poetic conceptions." In Nuovo Corso- 7, he exploits the duality between form and the formless, offering a clever interpretation of its opposing and unifying nature. Hsiao's works thus stand in between Eastern and the Western artistic traditions: they consider the possibilities of applying logic and rational thought in painting and at the same time, they are expressive of the artist's inner emotions and thoughts.
At the core of all of Hsiao Chin's works are his efforts to reconcile the religions and philosophies of the East and West. In his works, he allows art to become a belief and colour to transform it into language.
In Spring Rain (Lot 3380), the complementary red and green colours are used in a harmonious manner to evoke aesthetic emotions. In the composition, the tightly connected green lines descend from the top, in a slow but powerful manner reminiscent of the essence of Taichi movements. Like spring rain, it is falling onto the red mud to awaken the earth to nurture life. These mystical forces perpetuate our eternal life- cycles.
Hsiao Chin proclaims that "we should approach art with the devotion and humility we feel for religion and our unknown Creator." (Hsiao Chin, p. 75)
"For me, the most important part of painting is not "painting" itself. It is the journey one goes on in trying to understand the sources of life, in trying to record the feelings and experiences of life and in trying to express their outlook about life through painting."
-Hsiao Chin
Executed in 1970, Nuovo Corso- 7 (Lot 3381) is a quintessential example of Hsiao Chin's work from this period. During this period, the artist incorporated acrylic paint into his creations. NuovoCorso- 7 demonstrates Hsiao Chin's playful treatment of geometric shapes, composition and acrylic paint. Undoubtedly, the artist's creative process explores the notion of using rational thought in painting.
Hsiao Chin's works are distinct from those of Western Minimalist artists, as he appropriates Chinese painting traditions in his works by inserting his own "poetic conceptions." In Nuovo Corso- 7, he exploits the duality between form and the formless, offering a clever interpretation of its opposing and unifying nature. Hsiao's works thus stand in between Eastern and the Western artistic traditions: they consider the possibilities of applying logic and rational thought in painting and at the same time, they are expressive of the artist's inner emotions and thoughts.
At the core of all of Hsiao Chin's works are his efforts to reconcile the religions and philosophies of the East and West. In his works, he allows art to become a belief and colour to transform it into language.
In Spring Rain (Lot 3380), the complementary red and green colours are used in a harmonious manner to evoke aesthetic emotions. In the composition, the tightly connected green lines descend from the top, in a slow but powerful manner reminiscent of the essence of Taichi movements. Like spring rain, it is falling onto the red mud to awaken the earth to nurture life. These mystical forces perpetuate our eternal life- cycles.
Hsiao Chin proclaims that "we should approach art with the devotion and humility we feel for religion and our unknown Creator." (Hsiao Chin, p. 75)