A Transition from Monochrome to Color
Nothingness in Color is a series of works on black paper that continues a visual and philosophical experiment that began with my Journey to the Zen Master. The works use mixed media on black paper: pastel and chalk, often combined with acrylic or ink. The earlier works embraced monochrome, with black and white dominating the visual field. The next step was to introduce color while retaining the essential principles of reduction, emptiness and balance. The experiment continues in State of the Art 2025.
Like many artists, I find it increasingly difficult to concentrate amid a constant flood of noise, misinformation and global crises. Painting becomes a way of returning to silence.
The Evolution of Nothingness in Color
Although it wasn’t the first image in the series, I want to begin with it. Despite its imperfections, it serves as the ideal entry point for today’s exploration. Initially conceived as a fleeting, ambiguous sketch, it unexpectedly led to an intriguing direction—one that allowed me to introduce color seamlessly into a new, evolving series without sacrificing the elements that define my work.
The core remains unchanged: Daoism, Zen, minimalism, poetry, and, when possible, a musical touch. Each of these aspects intertwines to shape the essence of Nothingness in Color, I will consider them here in reverse order, beginning with music.
Music as the Invisible Brushstroke
In this series, music does not illustrate the paintings; rather, it shapes their rhythm. Music is not merely a background to my painting. Anton von Webern’s extreme economy, silence and carefully placed sounds resonate with my own attempt to give maximum weight to a minimum of visual elements. [1]
Poetry and Calligraphy
Poetry, much like music, is an expansive field. Many of my co-bloggers and readers possess deeper expertise in this area, so I gladly leave its broader discussion to them. However, one aspect worth highlighting is the connection between Chinese poetry (诗 shī) and calligraphy (书法 shūfǎ).
Most works in this series resemble carefully crafted calligraphy—each individual element appearing like a brush-written character. This interplay between visual rhythm and artistic flow mirrors the essence of poetic composition, where form and meaning are inseparable.
Minimalism: The Illusion of Complexity
Here I use minimalism to describe an economy of means, rather than to identify these works with the Western movement of that name. My interest is in a paradox: how a composition can appear visually rich while using relatively few marks.
I sought to create pieces that seem abundant in detail, though their structure remains simple. As an experiment, I asked AI [2] to estimate the balance between the black ground and the coloured marks. It returned colour estimates of about 13% for one image and 23% for the work below. These are unverified estimates, not measurements. The more interesting question for me is how a small amount of colour can make a largely unmarked surface feel so full.
Zen and the Art of Letting Go
For me, trying to express something of Zen in painting involves letting go of the wish to control every result. My fellow artist and co-blogger Nick, aka Spira, whom I have already introduced in an article, reminded me of the following words by the artist and Zen calligrapher Kazuaki Tanahashi:
“If each moment is our entire life, how dare we kill time?
If each stroke is our entire breath, how dare we correct it?”
With a wink, I would add my own question: “If that little bit of color is your entire world, how can you waste it?” [4]
whispers of form disappear,
the void paints the brush.
Daoism and the Foundation of Nothingness
Daoism has always been the philosophical backbone of my work. Laozi’s opening line in the Dao De Jing (道德经 Dàodéjīng) can be rendered as:
“The Dao that can be put into words is not the constant Dao.”
For me, this also raises a question about images: how can I respond in painting to something that resists definition, without pretending to contain or explain it?
In these works, I use nothingness as a painter’s word for an open field of possibilities. Daoist ideas and Zen have both shaped my thinking, though their concepts are not interchangeable. The black ground remains active: when only a small part of the surface carries colour, each mark changes how the surrounding space is felt.
Fundamentally, this journey revolves around the balance of opposites: light and dark, movement and stillness, and, of particular concern to me, microcosm and macrocosm. By applying these principles not just to the composition as a whole, but to each individual object—even to each brushstroke—the artwork invites meditation and, at its best, evokes a sense of spirituality.
Artistic Identity and Personal Signature
Art defies singular definition—its meaning and boundaries shift across cultures, eras, and philosophies. Yet, one fundamental aspect remains: the desire to recognize a distinct signature in an artist’s work. Whether in music, literature, or visual art, individuality is not easily attained. It requires persistence, evolution, and a willingness to embrace change while holding onto the core of one’s expression.
Throughout my artistic journey, I have sought to refine this personal signature, allowing it to grow organically within my shifting techniques. While some creations may not fit conventional notions of artistic merit, they remain a reflection of my ongoing exploration.
Recently, I have consciously stepped away from rigid academic approaches, shifting my focus toward the uninhibited perspective of children. This is not about imitating childlike drawings—such attempts would inevitably fall flat. Instead, it is about capturing the essence of spontaneous expression, weaving it into a structured yet intuitive process.
crimson threads of breathless light
dance, then drift to still.
The Philosophy of Pushi
In Chinese, the term pǔshí (樸實) [3] embodies the concept of being unaffected—unspoiled by artificial embellishments, attuned to the natural flow of existence, free from pretense, valuing simplicity over spectacle. Children, in their raw curiosity, exemplify this state.
We also find this approach in art. Daoist works often present an illusion of effortlessness—as though anyone could achieve them. Yet, upon closer observation, their quiet precision reveals a mastery of understatement. True simplicity is deceptive. It requires restraint, intention, and the ability to convey depth without excess.
The Journey as the Destination
For me, art is not about reaching a final form; it is about embracing the process. The pursuit itself carries meaning. Whether refining technique, redefining style, or challenging perception, the act of creation remains the artist’s true companion.
So, for quite some time, I have been striving to move closer to the beauty of pushi—to cultivate an artistic voice that resonates without force, to let simplicity reveal its quiet complexity. The road ahead is long, but in art, as in life, the journey is the destination. And so, it must be savored.
Footnotes
[1] For Webern’s works and biographical information, see his publisher Universal Edition. The connection with the spacing and rhythm of my images is my own.
[2] The percentages came from an AI image interpretation. No reproducible measurement or threshold separating black from colour was recorded, so the numerical results should be treated as rough estimates.
[3] I use pǔshí (樸實) for plainness, sincerity and an unaffected manner. The Taiwan Ministry of Education dictionary defines it through the related qualities of simplicity and honesty. Its connection with my painting is a personal interpretation.
樸 (pǔ) – simple, plain, unadorned
實 (shí) – real, true, honest
[4] In this approach, I try to leave each mark as it first appears. Reworking it can alter the balance I am seeking. This is a choice within my practice, rather than a rule for all ink painting or calligraphy.
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