Curator’s Preface

An overview of these seven artists reveals their individual combinations of diverse creative media, visual elements, linear qualities, chromatic textures, and aesthetic philosophies, each manifesting a unique artistic expression and spiritual essence. Fu Yi-Yao (1947-), who was selected for the “2016 Brilliance of China Award” and recipient of the special “Cultural Contribution Award” from Japan’s Ministry of Education in 2021, is the daughter of the modern painting maestro Fu Baoshi She was the first Chinese student to study in Japan on a government scholarship after China’s 1979 reform and opening-up, personally approved by Deng Xiaoping. In Japan, she studied under masters such as Hirayama Ikuo, Aoyama Sanu, and Shiode Hideo. Fu Yi-Yao has exhibited at the United Nations and is the only Chinese artist to receive Japan’s highest art criticism award, the “Ringa Art Encouragement Prize”. She has been invited to lecture on NHK television programmes, and NHK extensively covered the entire creation process of her historical narrative painting series, “Buddhism to the East”, repeatedly broadcasting it on their channel and hailing it as a bridge for Sino-Japanese art and cultural exchange.

Living in Japan for many years, Fu Yiyao not only integrates the essence of Chinese, Japanese, and Western art aesthetics but also strives to find a perfect balance between tradition and innovation. Her primary creative subjects include fusuma (wall) paintings in temples, depictions of Japanese folk festivals, poetic paintings, snow and rain landscapes created using her father’s pioneering alum technique, as well as imitations of her father’s brushwork. Her style is grand and powerful, with intense emotion, yet also delicate and composed, rich with Zen qualities. She seamlessly blends boldness with subtlety, and spontaneity with restraint, establishing herself as an outstanding international female artist. Her series on Japanese festivals and poetic paintings carry a strong local artistic flavor while also holding significant historical, cultural, and collectible value. Recently, her works have achieved impressive results in art auctions in the U.S. and China and have been widely exhibited and collected by renowned museums and institutions worldwide, such as the Art Institute of Chicago, SOAS University of London, the National Art Museum of China, and famous Japanese temples and shrines.

Tai Xiangzhou’s (1968-) ink painting practice merges the natural philosophy and historical views of Chinese Taoist literature with astronomical and physical research observations. By mastering the traditional techniques rooted in Song and Yuan dynasty art, he creates a series of grand, unpredictable, and highly mysterious works that intertwine Eastern culture with scientific observation. His masterpieces, such as the “Cosmic Symphonies” and “Celestial Chaos” series, are prime examples of this approach. In this exhibition, he shifts from his previous focus on the macro world and classical aesthetics to explore the micro world in his “Scholar’s Rock” and “Bronze Ritual Vessel” series, as well as his “Neo-Classical” series, which revives the artistic brilliance of the Northern Song dynasty and other ancient periods, along with the recent rare coloured ink “Kunlun” series.

The “Kunlun” album pages depict a rich and vibrant mythical world filled with both real and imaginary creatures, such as oxen, dragons, and phoenixes, alongside mythological figures like the wind and thunder gods. The artworks use vibrant clouds, misty vapors, floating rocks, and turbulent seas as backgrounds to create a fantastical atmosphere. Each painting is accompanied by Tai’s characteristic prose calligraphic inscriptions, incorporating the language and discourse of early Taoist philosophers like Zhuangzi, delving into metaphysical explorations of existence, often filled with paradoxes. This unique artistic expression seamlessly merges painting, calligraphy, and philosophical thought, demonstrating Tai’s scholarly depth and innovative spirit. It also echoes the ancient aesthetic ideal of uniting poetry, calligraphy, and painting.

In 2015, the Art Institute of Chicago, which had been established for 140 years, acquired its first work by a living artist: Tai Xiangzhou’s “Celestial Chaos No. 1″, which was also featured in the museum’s important catalog “Painting at the Art Institute of Chicago – Highlights of the Collection”. Additionally, his works have been collected and exhibited in over 20 major museums and renowned institutions across the United States and Europe, including the Freer Gallery of Art, the Asian Art Museum of San Francisco, and the Minneapolis Institute of Art. Most notably, his recent Bronze Ritual Vessel series painting on paper, “Zhou Zha Hu”, was featured on the cover of Sotheby’s New York September 2024 auction catalogue and achieved remarkable success in the auction. Apart from participating in this joint exhibition for Asian Art in London, Tai has also been invited to hold a large-scale solo exhibition “Distant Journey” at the Hunan Provincial Museum in China at the end of this year.

Emerging fashion artist Grace Wong (1985-), founder of the Grace Han brand, gained global attention in the luxury fashion world with her Love Letter handbag, a black calf leather piece made famous by its association with Kate Middleton, the Duchess of Cambridge. Grace infuses the essence of both Eastern and Western cultures into each of her creations. Her signature “Love Letter” and “Ballet Lesson” series are innovative masterpieces that she has meticulously refined over seven years. These creations are not just fashion accessories, but wearable artworks, reflecting the multifaceted nature of women—deep and perceptive, soft yet resilient—embodying the diversity and strength of the modern woman. The series on display this time consists of individually crafted, one-of-a-kind handbags, each with its unique aesthetic philosophy, stylistic techniques, and spiritual connotation.

Notably, Grace introduces an entirely new series of leather art creations this year. Departing from traditional Eastern and Western painting mediums, she extends her unique visual language from paper and canvas to leather, elevating it beyond conventional craftsmanship. By combining her creative aesthetics with different textures and colours of leather, she achieves a refined and otherworldly artistic realm, supported by her exceptional technical skill. Grace’s artistic journey began with a profound mother-daughter bond. In her memory, her mother’s artwork always featured a mysterious balance line, waiting for her to complete. This seemingly simple line, carrying an artistic legacy across generations, has now become an indispensable soul element in Grace Han’s artistic creations It not only connects the past and present but also symbolizes the artist’s eternal longing and respect for her mother. Through these exquisite artworks, Grace invites viewers to contemplate art, cultural heritage, and the role of women. Her work has been admired and collected by Japanese officials, European royalty, celebrities, and others.

Su Hsien-Fa (1948-) brings us the ‘ceiling’ of contemporary oil painting in Taiwan with his exhibited works. As the president of Taiwan’s highest academic art organization, the Taiwan Academy of Fine Arts, Su has long been dedicated to artistic creation and education, encouraging his students to find a balance between tradition and modernity, East and West, fostering unique artistic perspectives. His influence has profoundly shaped the styles of a new generation of Taiwanese artists. As a highly influential figure in Taiwan’s contemporary oil painting scene, Su is also regarded as a ‘titan’ in Taiwan’s art market. His works combine the techniques of traditional Eastern brushwork with the abstract expressionism of Western modern art. In recent years, his “Four Seasons” series, themed around the changing seasons, not only demonstrates his unrelenting passion for creation but also captures the passage of time and its beauty. Through his varied and romantic color palette, he skillfully conveys spatial experiences and travel memories, constructing a delicate, powerful, rich, tranquil, and poetic universe of imagery.

Su Hsien-Fa’s artistic creative thinking is deeply rooted in Eastern cultural consciousness, embodying unique Eastern aesthetic concepts such as yijing (artistic conception), xushi (void and substance), and qiyun (spiritual resonance). His “Winter Plum” painting and other similar works, showcase the rhythmic texture and charm of calligraphic lines and ink washes characteristic of Eastern art. Particularly, his “Lotus Flower” series, which uses the lotus, a beloved subject of traditional Eastern painters and literati, evolves through different stages of creation. It begins with early traditional ‘observational’ sketches of lotuses and moves into abstract ‘conceptual’ expression, progressing to the stages of ‘borrowing the lotus’ and ‘playing with the lotus,’ and finally culminating in ‘fragrance from afar’ and ‘pure realm’. In this series, he strives to convey the mysterious beauty of form and non-form, reaching a state of aesthetic unity between the physical and spiritual, where both artist and object are forgotten. Su Hsien-Fa is also the first Taiwanese oil painter invited to hold a large solo exhibition at the Zhejiang Art Museum in Hangzhou, China, and his works are widely collected by museums and important art institutions.

Chi Po-Chou (1980-), an outstanding representative of Taiwan’s new generation of artists, has made his mark on the international stage with his astounding creativity and diverse artistic expression. His work spans animation, film, and classical fine art, forming a unique surrealist style. He has won over 40 international awards, including recognition from top competitions such as the Student Academy Awards and the Cannes Film Festival. One of the highlights of Chi Po-chou’s artistic career is his animation “The Lighthouse”, which not only won 28 international awards but has also been included as educational material in multiple countries. He also served as the visual arts director for the 53rd Golden Horse Awards in Taiwan, and his work has been permanently collected by the official archives, underscoring his significant standing in the art world.”

Chi Po-chou’s creations span multiple series, each deeply exploring human nature and social issues. “The Legend of the Cloud Shadow” uses fantasy animation to reveal the duality of desire and the importance of values; the “Light of Memories” series gently portrays the emotions of life and creation; and “Surreal Sins” reinterprets a modern version of the ‘Seven Deadly Sins’, showcasing human desires and inner struggles. He skillfully employs visual reversals and metaphors, infusing rich emotions and narratives into his works. Chi Po-chou strives to create timeless pieces that appeal to both popular and refined tastes, basing his work on sincere emotions, reimagining concepts through imagination, and embedding profound metaphors to touch the audience’s heart. His works transcend cultural boundaries and resonate globally, fully demonstrating his influence and significance as a contemporary artist.

Chu Yu-yi (1967-)’s oil paintings bring rich colors and imagination to this exhibition. A professor in the Fine Arts Department at National Taiwan Normal University, Chu’s creations span multiple fields, including drawing, watercolor, and oil painting. His work conveys a unique philosophy, seeking to weave abstraction and representation seamlessly together. Using avant-garde techniques, he reinterprets the mysteries of the natural world, transforming them into his own original, captivating visual symbols. “The Imagery of Pine” series draws inspiration from the pine tree, a favorite subject of Eastern literati, ingeniously combining Eastern philosophical thinking with contemporary artistic techniques. The series uses dynamic ink structures as its visual language, incorporating traditional Eastern calligraphic techniques and aesthetics with layers of oil paint rich in tension. The result conveys a visually saturated, expressive, and vibrant atmosphere. In Chu’s paintings, the ‘pine tree’ transcends mere representation, becoming a medium for the artist to explore the intersection of nature and humanity.

The works incorporate elements such as written text, animal totems, and landscapes, evoking the mystical concept of ‘a mustard seed containing Mount Sumeru’ (a symbol of vastness within smallness). Through his art, Chu Yu-yi explores philosophical themes of freedom and tranquility, mystery and intensity, presenting the unity of opposites. “The Imagery of Pine” series celebrates the resilience of life and reflects the artist’s ongoing quest to transcend the limits of reality and pursue spiritual freedom.

Vincent Fang (1969-), an influential partner of Jay Chou, a major figure in the Asian pop music scene and a notable art collector, is widely respected as a lyricist in the Chinese-speaking world. However, his recent artistic creations have transcended the boundaries of music and visual art, leading to the formation of his unique creative aesthetic, known as the “Fang Dao Wenshan Style.” This is not just an artistic style but also a way of thinking. He transforms musical notes into sculptures and lyrics into three-dimensional installations, creating a distinctive and highly conceptual “poetic figurative” style.

The works featured in this exhibition include his famous “Lyric Installation Art” series, which are carefully crafted pieces that transform lyrics from some of his iconic pop songs into ancient, obscure Xixia script. The rusted tones and bronze-like textures of the works give each character a sense of time’s weight. This deliberately aged and weathered look contrasts sharply yet harmoniously with the core of contemporary pop culture, blending traditional Chinese elements with modern technological aesthetics to create a multidimensional artistic experience for the viewer.

Additionally, Vincent Fang ingeniously incorporates steampunk-inspired mechanical structures into the forms of traditional Chinese ritual bronzeware. He inscribes his own lyrical masterpieces inside the vessels as inscriptions, creating works that transcend both time and space. These imaginative translations go beyond music and art, producing a unique fusion of creativity that seeks to build an alternative worldview. His visual creations aim to subvert traditional aesthetic concepts by integrating Eastern and Western influences, presenting an entirely new aesthetic atmosphere.

The works of these seven artists highlight the diversity and innovation of contemporary Asian/Taiwanese art. Whether they are preserving classic traditions or breaking new ground, each one is exploring artistic expressions that reflect the spirit of contemporary Asia. Through various media, techniques, and themes, they collectively paint a vibrant picture of Asian art. In today’s globalized world, art is no longer confined by geographic boundaries. However, it is precisely through this cross-cultural exchange and interaction that we can more clearly see the unique charm of Asian art. These artists use their creations as a bridge to connect Eastern and Western cultures, as well as ancient and modern artistic aesthetics, showcasing the confidence and strength of Asian artists on the global stage.

Mo Hai Lou is honored to once again participate in and witness this grand celebration of Asian art. We believe that through this exhibition, more art enthusiasts will come to appreciate the allure of Asian/Taiwanese art, and it will contribute to the diverse development of global art. Let us look forward to meeting these extraordinary works at Christie’s St. James’s Gallery in London, feeling the warmth and power of artistic culture, and together writing a new chapter in Asian art.