“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.

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.

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 color and movement in the works. Hsiao Chin’s 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.

The Eternal Garden display the depth and richness of Hsiao's metaphysical artistic universe, expressed through a unique blend of reason and emotion, the appeal of color, and the harmonious grace of his works. Red hot tones, surging blues, extended lines, and irregular blocks of color, like the competing yet harmonious energies of the universe, move in repeating cycles as they push and pull against each other to achieve balance.

After achieving certain realizations about life, Hsiao Chin experienced a spiritual transformation that inspired him to create Il giardino eterno – 77 (The eternal garden – 77) based on an attitude of “the universe and my heart are one and the same”. The result is a work that is sophisticated and restrained, yet dynamic. The composition of the painting features a blazing red wave that intrudes upon a touch of quiet and elegant green. This changing color transforms the oppressive giant wave into a relaxing form that breathes life. Using delightful contrasting colors and quietly enchanting brushworks, the artist integrates his abundant intellectuality and sensibility, revealing the depth and power conveyed by metaphysical art.
The work continues contemplations by the artist since the 1960s regarding movement vs. stillness, light vs. dark, and strength vs. weakness that are all part of the Lao Tzu and Zhuangzi school of thought. The periphery of the orange red wave is surrounded by traces of white, resembling ripples that expand endlessly. The continuous extension of the lines and placements of the color blocks seem to indicate the intersection of two types of kinetic powers that are ready to pounce with their iterative pushing and pulling to reach an equilibrium. The painting was completed in 1995, the same year Hsiao’s solo exhibition The Artistic Journey of Hsiao Chin: 1954-1994 was held at Taipei Fine Arts Museum to commemorate the decades-long achievements of the artist.