Curator | Wu Hui-fang
Exhibition Executives | Wu Jianan, Wu Hui-fang
 

---

The title “Diverged Paths, Shared Resonance” comes from a section in “The Great and Most Honored Master” by Zhuangzi. It emphasizes the idea of allowing each other the freedom to thrive independently rather than depending on one another during difficult times. Building on this concept, this dual solo exhibition features the artworks of Read Lee and Hsiung Ping-ming, marking an intersection of their unique artistic journeys that resonates with spiritual and conceptual bonds while celebrating their individual practices.
 
Read Lee (1921–2010) and Hsiung Ping-ming (1922–2002) stand out as two iconic Chinese artists of the 20th century. Their lives were shaped by the turmoil of their times, leading them to make distinct choices that defined their respective artistic paths. After moving to Taiwan in the postwar period, Lee committed himself to art and education, significantly influencing Taiwan’s art landscape. In contrast, Hsiung pursued further education in France, ultimately settling in Paris and achieving international recognition as a France-based Chinese artist. Although living in different worlds, both artists were deeply rooted in literature and philosophy, continually blending Eastern and Western cultural traditions in their artistic exploration while seeking breakthroughs.
 
Lee’s work embodies the fluid nature of time and memory, expressed through incisive visual language. By merging the abstract with the figurative, his intricately layered brushwork and vibrant palette create a sense of space that feels both familiar and distant. His paintings evoke landscapes; however, they are not direct representations but rather the flow of inner emotions, which reflect the movement of rivers and lakes in nature, at times vibrant, at others tranquil, continually echoing the subtle connection between the self and the world.
 
Hsiung Ping-ming is renowned for his sculptures, which are profoundly shaped by Eastern and Western philosophical ideas. While deeply influenced by traditional Chinese culture, his sculptures also exhibit a structural rationality characteristic of Western modern sculpture. Characterized by minimalist lines and gracefully rounded forms, his work captures the essence of “Tao” through material representation. In this exhibition, Hsiung’s sculptures engage in a subtle dialogue with Lee’s paintings, creating a vibrant interplay between movement and stillness, form and meaning.
 
More than just a title, “Diverged Paths, Shared Resonance” embodies both artists’ attitudes toward artistic creation. They pursued their separate journeys in the art world, and their art resonates with each other on a spiritual level. Without catering to art trends and worldly expectations, they have developed freely and independently in their respective creative work. Eventually, they meet in this exhibition, immersing the audience in the dialogue between and the unison of different media. This exhibition ushers viewers into an open space where they can wander between Lee’s paintings and Hsiung’s sculptures, experiencing their shared sensibility and uniqueness. It offers a moment to contemplate how both artists explore the notion of freedom and the self, leaving a distinct and enduring impression across the vast realm of artistic creation.
 

---

Read Lee: An Artist Pursuing Truth in Space and Sentiment

Read Lee (1921-2010) was born in Changshu, Jiangsu, into a family well-versed in traditional arts, such as poetry, calligraphy, ink painting, seal carving, and Beijing opera. This enriching environment significantly influenced his cultural learning and artistic sensibility. From an early age, Lee cultivated a deep passion for literature and painting. Even amid the challenging exile and studies in Sichuan during the wartime, he immersed himself in classical literature and famous paintings. He graduated from Chongqing University in 1945, and in 1948, he moved to Taiwan, marking a new phase in his life.
 
In 1956, by chance, Lee discovered and was deeply inspired by Three Flowers, an oil painting by the Japan-based artist Chen Te-wang. He sought an introduction and became Chen’s only formal disciple. Over the course of eight years, Lee absorbed his mentor’s unyielding pursuit and rigorous exploration of artistic essence, which formed the keystone of his own teaching and creative endeavors in later days.
 
Lee had a solid foundation in drawing, and his sketches were minimal yet brimming with tension, effectively capturing the essence of his subjects with just a few strokes. Over time, his style gradually shifted from realism to abstraction. After 1973, his works became increasingly expressive, utilizing dynamic brushwork and layered paint to create vivid, rich textures. Meanwhile, he often titled his paintings with poetic phrases to convey sentiments. In 1989, Lee completed 21 pieces that comprised his Attribute of Emptiness series, drawing inspiration from images of his studio and models emerging from his subconscious. According to Lee, “attribute of emptiness” signifies the physical forms of space, the ever-changing impermanence of the mundane world, and the solemn form of the Dharma that is true emptiness and remarkable existence. After this series, Lee’s style was elevated to an ethereal and spiritual realm.
 
Lee’s artistic journey can be divided into three phases: an early phase rooted in realism that explores the connection between form and space; a transitional phase toward abstraction that highlights rhythm and structure consisting of dots, lines, and planes; and a final phase that delves into metaphysical poetry and philosophical ideas, resulting in an idiosyncratic style of spiritual painting. His statement—“Cézanne moved from ‘space’ toward ‘nature,’ and I move from ‘nature’ toward ‘space’”—not only outlines his artistic development but also illustrates his quest for the essence of art and the meaning of life through reconstructing and simplifying space. The exhibition showcases nearly 70 oil paintings by Lee (including several iconic self-portraits and 21 pieces from the Attribute of Emptiness series), 14 watercolors, and over 50 brilliant sketch drawings.

 

---

Hsiung Ping-ming: The Path Interweaving Philosophy and Form

Hsiung Ping-ming, a philosopher, sculptor, calligrapher, and poet, was a Chinese artist residing in France. His entire life resembled a long journey that blended Eastern and Western culture and sought to find his artistic language between the modern and the traditional. Born in Nanjing in 1922 with ancestral ties to Mile in Yunnan, His father, Hsiung Ching-lai (熊慶來), a distinguished mathematician and professor at Southeast University in Nanjing, was a great supporter of his artistic pursuits.
 
In 1947, Hsiung went to Paris as an exchange student studying philosophy, aiming to continue his philosophical education. However, after visiting sculptor Marcel Gimond’s studio in 1948, he decisively changed his direction to focus on sculpture. He believed that both philosophy and sculpture explore “existence.” Sculpture can address metaphysical inquiries through tangible forms. This pivotal decision laid the foundation for his future creative work, where philosophical ideas served as the framework and form acted as the substance.
 
Hsiung’s creative path never developed in a single, linear manner; instead, he immersed himself in various art forms, such as painting, calligraphy, watercolor, printmaking, and papercutting. However, he was most renowned for his sculptures, particularly the Soldering Series and Bronze Sculpture Series. The Soldering Series was created in the 1950s during the most challenging period of his life. At that time, Hsiung faced family obligations and was unable to purchase bronze, so he resorted to scrap iron. These pieces, crafted from iron sheets and rods, embody minimalistic forms filled with tension, capturing the desolation and resilience of postwar survival while instilling a sense of vitality in steel. In the 1960s, the Bronze Sculpture Series gradually emerged as the focal point of his creative work. He sculpted clay and cast bronze, frequently choosing animals as his subjects, particularly emphasizing the water buffalo. Characterized by their robust textures and simplified forms, they symbolize national spirit and appear both realistic and philosophical while serving as a profound reflection on his native land and history. This exhibition presents a comprehensive survey of Hsiung Ping-ming’s sculptural practice across different periods, tracing the evolution from the simplicity and clarity of his early works, to the solid and expressive forms in his mid-career, and finally to the late period where he skillfully combined materials and imagery with ease and confidence. In addition to his sculptures, the exhibition also features 54 works on paper, including watercolor sketches and calligraphy, offering further insight into his artistic vision.

 

---

Supervisor | Bureau of Cultural Affairs, Kaohsiung City Government
Organizer | Kaohsiung Museum of Fine Arts
Support︱Mountain Art Foundation
Appointed Deformaldehyde Coating Sponsor | HOPAX