Enormita nell’ Infinito

HSIAO Chin (XIAO Qin) (Taiwanese, 1935)

2008

Acrylic on canvas

110 x 250 cm

Estimate

Sold Price


Signature

Signed on the reverse Hsiao in English, Chin in Chinese, titled Enormita nell’ Infinito in Chinese and Italian, dated 2008 and inscribed 110 x 250 cm, acrylic

+ OVERVIEW

Sublimation Beyond Eternity - Hsiao Chin’s Eastern Abstractionism
“Man must reach a kind of limitless energy and exploration within a limited time, learning to understand the depths of the meaning of life in the non-physical world that is beyond time ”- Hsiao Chin
Observing the changing flow of the universe with the attitude of Ch’an, Hsiao Chin expresses eastern mindfulness philosophy with a western style, beginning a new possibility for post-war Chinese paintings. A style that frames the hidden feeling that “Time seems still yet infinite ”
The origins and history of post war Asian abstract art from China to Taiwan and in some western countries, span the time when there was a one way movement of western art influencing Asia. In the 1950’s we start to see the reverse, and Eastern cultures prevailed. Experiencing the change of time and cultural shifts, Zao Wou-ki, Chu Teh-Chun, Wu Guanzhong, Xie Jinglan, became pioneers of the modern art scene, their cultural recognition and creation from the heart leaves a classic style that is spread around the world. In this era of millions of potential forms of post war art, Hisao Chin shines in the western art scene with his Ch’an philosophies. A bridge connects the east and the west, and Hsiao Chin plays an important role. These days, post war abstraction is leading in modern markets, auctions and exhibitions, and so as a post war abstract artist, Hsiao Chin is in high demand.

A style transcending time
The origins of Hsiao Chin’s creative style come from the progressive concepts of Li Chun-shan, the modelling mechanics of Paul Klee, post war abstract art and a desire to re-introduce the surrealism of automatic techniques. This is what Hsiao Chin wishes to bring to the Western art scene. In the 1950’s Hsiao Chin was the first one to bring European art influences into Taiwan. He started a movement that included the “Tong-fang Art Group”, the first in Asian art history, changing the world of post war abstract art forever and revolutionising Chinese abstract painting.
"The purity of ideas and the reasons for creation are to understand the ”finite” in” infinity”, the reality of its thoughts and the understanding of the true meaning of life" - manifesto of Punto International Art Movement
In 1959, Hsiao Chin moved to Milan, Italy. Here, he felt the movement and heartbeat of the times and he reflected on his own culture. He stopped using his oil paints and began to explore the medium of ink and water based paints to fill his canvas. Then, in 1961, he began the remarkable, “Punto International Art Movement” with Italian artist Antonio Calderara, Japanese Sculptor Kenjiro Azuma, and Chinese artist Li Yuan-jia. They were to steep the Western art scene in their Chinese philosophy. From 1967 to 1976 Hisao Chin created the series “Hard-Edge”, in an attempt to establish a “static and yet constantly dynamic” living environment in this symbolic universe. 1970 to 1980 Hisao Chin evoked the “SURYA” and “SHAKTI” movements. Although Hsiao Chin recognised the cutting edge of ever changing art, he still saw art as a journey within.
In the 1990’s. Hsiao Chin faced difficulties in his personal life and was confronted with aspects of life and death that led him onto a spiritual path and the search for the deeper meaning of life. Through this search for what lies beyond, he discovered the eternal nature of life itself. “The Sublimation of Samantha'” and “Passage Through the Great Threshold” are both series that show an attitude of contentment and well being, his emotions and story are revealed through the colour and movement in the works. Hsiao Chins most iconic work is “Eternal Garden” in which he is reborn after passing through many trials. This series of works is still the most popular at auction, and the following 4 pieces represent brilliantly the state of Hsiao Chin’s heart after his Ch’an experience.
A changeful of colour after Ch’an
"After experiencing an enlightenment, it is finally clear that eternal life does not stop at this life, or in this world, but it is beyond the limits of life and death." - Hisao Chin
In The Eternal Garden Samantha - 6 there is a purple form above the pink background that represents the eternal form of the artist's daughter. The other side of the canvas shows more colour, representing the “other shores” from which his daughter sends inspiration from an unlimited source, those other shores are where the artists heart belongs, and where he will go when he leaves this life behind. Enormita nell' Infinito has a classic, “Eternal Garden” element, combining 2 colours, always leaving a blank area in the center that represents the channel between the artist and his daughter, an abundant well, a fine blend of Eastern perspective and the energies behind people’s relationships. La Parrione is a culmination of work between 1995 and 2005, after experiencing feelings of deep pain and having many revelations, Hsiao Chin expresses his feelings again on the eternity of life. His repeated use of warm colours in patches symbolises how waves and sand filter his spirit, settling down to a zen like clarity. Verso il Giardino Eterno was created in 2011, it is the promised land of abundance in energy and inspiration.
International museums and other relevant facilities search for primary collections
Since 1990, Hsiao Chin had exhibited his work in Europe, America, Taiwan and China. His works are displayed in many international museums as well as personal collections, his presence has been felt in many important cities of the world. Hsiao Chin is very intimate with the 3812 London/ Hong Kong gallery and the MGM Macau have a fine collection of Hsiao Chins works. In 2018, the artists works were exhibited in Shanghai at the Chinese Art Palace “Retrospective Exhibition: Hsiao Chin – Coming Home” and in Hong Kong at the Tsz Shan Monastery “ZEN。ART Bright Light – Homage to Ascendence” in March of 2019 his works were displayed in an exhibition entitled, “Les Couleurs du Zen: Peintures de Hsiao Chin” at the Musée National des Arts Asiatiques Guimet, in Paris, France. This exhibition in Paris was the second by any Eastern Artist, after the 2004 exhibition of Sanyu. This museum is home to the largest collection of Asiatic art outside of Asia, Hsiao Chin’s exhibition was a milestone for Eastern art in the West.
Hsiao Chin has won the highest honor in Taiwan's literary and art circles - the National Literary Award. In the post-2013 auction market, Hsiao Chin's works have risen steadily in price, and in 2018 he broke the highest transaction record. Recently, the auction market in Taipei and Hong Kong has continuously promoted Hsiao Chin's art. In a competitive world, collectors are looking to acquire Hsiao Chin’s works more and more.
Related Info