Hsu yung chin's solo exhibition in Singapore, Jan 21-25, 2015, Art Stage Singapore


Hsu yung chin's solo exhibition in Singapore, Jan 21-25, 2015, Art Stage Singapore, booth H19

Marina Bay Sands Convention and Exhibition Centre
artstagesingapore: http://www.artstagesingapore.com/

Art Stage Singapore
Revelations of the Soul Art, Hsu Yung Chin’s solo exhibition
Marina Bay Sands Convention and Exhibition Centre
22 – 25 January 2015

Art Stage Singapore is the second largest asian art fair after Art Basel Hong Kong. Last year, Art Stage Singapore attracted over 45 000 visitors from around the world, making it one of the most important art events of the year.

2015 will be the first year Taiwan’s YESART gallery will participate in Art Stage Singapore. YESART will be doing a solo exhibition of renowned Taiwanese calligrapher and artist Hsu Yung Chin’s most recent work. The exhibition is entitled, Revelations of the Soul Art, and will feature ten of Master Hsu’s most recent works. Of particular note will be the piece, The Great Image Has No Form (#10), which consists of five large works (350 cm x 240 cm) based on a passage from the Tao De Ching. The painting blends a modern take on Chinese calligraphy with the ideas found in Lao Tze’s philosophy. The work contains a natural fluidity that balances both the chaotic and the sublime, where the essence of the moment in which the painting was created transcends the characters contained within.

YESART is proud to present contemporary Chinese calligraphy pioneer Hsu Yung Chin’s latest works to both Asia and the rest of the world.


Hsu Yung-chin’s Calligraphy / Video

Calligrapher Hsu Yung-chin sits on the floor meditating. He clears his mind and adjusts his breathing in preparation to write calligraphy. When he is ready, he dips the brush in the ink and writes four large Chinese characters, “Dragon in the Sky.”


Xiamen Culture and Creativity Expo 2014

Hsu stands below a large print of his most famous work, the Taiwan tourism logo.

Hsu's wife, Zhen Fang He, presents clothing with Hsu's designs on them. 

Taiwan's representatives at the Xiamen expo sit for a picture beneath Hsu's work, Flying Dragon in the Sky. 

Hsu explains the story behind these charcoal nudes.


Architect Colin K. Okashimo visits Master Hsu’s studio, 2014

Hsu Yung Chin and artist Colin K. Okashimo discuss the confluence of art, meditation and intuition.

Hsu Yung Chin and his wife share tea with Colin K. Okashimo.

Colin K. Okashimo and Hsu Yung Chin share a laugh.


 Asia Contemporary Art Show 
Hsu will be displaying some of his newest art work, everyone is welcome!


About the Asia Contemporary Art Show

The spring edition of Hong Kong’s most exciting and vibrant art fair for original paintings, limited editions, sculpture and photography opens Thursday 15th May and is spread over five floors of the Conrad Hong Kong. 

As the city's only art fair held twice a year and largest satellite event to Art Basel Hong Kong, the Asia Contemporary Art Show will present the works of young and emerging talent as well as recognized mid-career artists. Presented at the Show this May will be a selection of more than 3,000 works from 18 countries.



Coevolution and Speciation in Contemporary Chinese Calligraphy. 
The Evolution of Hsu Yung Chin’s Modern Calligraphy
by  Bai ShiMing Ph.D, Professor, Deparment of Art, Shida University, 2014

How can Chinese calligraphy become more contemporary? What would a contemporary calligraphy even look like? These types of questions imply that calligraphy is something static, which it is not.  It is an artform always in flux. Throughout Chinese calligraphy’s long history, it has been practiced by Confucianists, Taoist, and Buddhists. No matter who was practicing it, calligraphy has always been an important part of East Asian culture.  Today, because Chinese calligraphy is used less and less, its evolution has slowed. So much so that it may appear static to many. How then can Chinese calligraphy remain a relevant part of contemporary culture? 

While the idea of a modern calligraphy is already a part of contemporary culture, its aesthetic has yet to be defined. What ideas should guide a modern calligrapher? What parts of the old artform should remain in the new? It was these types of questions that caused a group of  Japanese calligraphers to declare “the end of Chinese calligraphy era”. It was a call to abandon the traditional scripts, calligraphers, ancient works and theories in order to create a new model upon which a reinvigorated era of calligraphy could take hold. They wanted to move beyond the traditional symbolism and cultural heritage of Chinese calligraphy and forge an, “intercultural, interracial, interlanguage…mixed cultural type [of calligraphy].” The influence of this Japanese calligraphy movement has been broadly felt and their ideas have started to become the foundation for modern Chinese calligraphy. 

Taiwan has been a part of this modern calligraphy movement since 1990. Hsu Yung Chin was one of the original artists who was sensitive to the need for an avante garde calligraphy. Hsu said that, “Traditional calligraphy is already disconnected from modern times. If it does not transform, it will die out. We need to develop a new type of visual art and move beyond the conventions of traditional calligraphy. This is not a criticism of traditional calligraphy, instead, it is a way to construct a modern aesthetic for Taiwanese calligraphy, one which places the emotive above the functional.”
The tools of calligraphy, the techniques behind the styles, and the rules of character construction are the building blocks upon which calligraphy’s aesthetic is first formed and from which it further evolves. By using these fundamentals in a variety of ways, an evolution occurs, one where new species of calligraphy split off and become something unique. 

In Hsu’s over 40 years of practicing calligraphy, he has created many ideas and aesthetics which have grown and split off into new ideas themselves. This is how a modern aesthetic is nurtured and developed. Today, Hsu is taking modern calligraphy even farther than before. His recent works are all fresh and emblazoned with truly living scripts. These vital works contain characters which which transmit something far more than words ever could.  They breathe and have a pulse. It is this way because the art is a part Hsu Yung Chin. He transmits his ever changing perspective and experience of life on to the page.  It is in this way that he produces his vision for a modern calligraphy. One where the tools have been transformed into art, where innovation trumps tradition, where perception is more important than knowledge, and most importantly, where being true to yourself, and your evolution, is more important than abiding by authority. 

Tao Te Ching, 70cmx240cmx6, Ink on paper, 2013