Ho Kan (1932 — ), a pioneer of geometric abstraction in the Chinese-speaking world, Ho Kan infused Eastern cultivation and poetics into the realm of spatial art on the two-dimensional plane. Drawing inspiration from the spatial structure of Chinese characters, he developed new aesthetic paths and conceptual directions. Through a flexible use of color composition, diagonal lines, and asymmetrical shapes, he generates a sense of three-dimensionality within the two-dimensional canvas, activating a visual rhythm of space. His works often feature light-infused gradations, inviting viewers to project their inner emotions and psychological states onto the canvas. Employing a philosophy of “subtraction,” Ho Kan pursues the poetic essence of form, with each line, shape, and spatial relationship considered as meticulously as a calligrapher placing a brushstroke.

Ho regards art-making as a process of spiritual concentration — memory and spirituality are embedded in his subconscious, cultivated through accumulated experience. His minimalist forms contain poetic resonance, constructing an inclusive abstract world that expands from limited space into the infinite. This reflects Eastern philosophy’s emphasis on harmony among all things, the cyclical flow of life, and the nourishment of boundless vitality — ultimately arriving at a spiritual space of inner balance. Through his compositions of short lines and dots, he evokes a human sensitivity toward the cosmos and a longing for unity with the infinite universe. This pursuit of “mystical imagery” allows Ho Kan, through creation, to merge with a state of being — a journey toward oneness with all things.

Born in Nanjing, Jiangsu in 1932, Ho Kan was introduced to calligraphy in his youth by his grandfather, the calligrapher Ho Jui (霍銳). In 1949, he moved to Taiwan with the National Revolutionary Army School for War Orphans. There, he studied under Li Chun-Shan (李仲生), a key figure in the development of modern art in Taiwan, and began his journey into modern painting. In 1956, Ho co-founded the Ton Fan Group (東方畫會) alongside Hsiao Chin (蕭勤), Li Yuan-Chia (李元佳), and others. At a time when the Taiwanese art scene was largely stagnant, the group’s adoption of the name “Ton Fan” — meaning “Eastern” — symbolized the rise of a new artistic force akin to the sun rising in the East. This marked a pivotal moment in the modernization of Taiwanese art.

From 1964 to 2014, Ho Kan lived in Milan for five decades, where he encountered works by masters such as Piet Mondrian, Josef Albers, and Enrico Castellani. He was also deeply influenced by the metaphysical painting lineage of Giorgio de Chirico, Alberto Savinio, and Giorgio Morandi. This European experience shaped what has been described as Ho Kan’s “rare fusion of surrealism and geometric abstraction.”

Daily life in Milan allowed Ho to gradually free himself from inner constraints. Immersed in the world of opera and music, he developed a sensitivity that also shaped his painting. For Ho, the length of a line, the size of a dot, and the density of color are akin to the components of musical composition. He likens the artist to a conductor, transmitting mood and overall atmosphere through the canvas.

In 2014, Ho Kan returned to Taiwan. Now in his nineties, he continues to create with a childlike heart and undiminished passion. His recent works have grown in scale and feature more vivid and luminous colors, reflecting a deeper pursuit of life’s authenticity. “When natural light falls on the artwork, subtle changes emerge — and you feel a real presence. That sensation requires constant practice... it’s tied to your person, your blood, your thoughts. It becomes a phenomenon. That’s what creation is,” Ho says. He encourages viewers to simply enjoy the act of seeing — to sense the interaction between form and color, focus on diverse elements, and allow personal insights to arise, ultimately discovering the essence of the self.

Ho Kan’s works have been widely exhibited and are held in the permanent collections of leading institutions worldwide, including the National Gallery of Modern and Contemporary Art in Rome, the Florence International Contemporary Art Museum, the Berkeley Art Museum and Pacific Film Archive (BAMPFA) in the U.S., the National Taiwan Museum of Fine Arts, Taipei Fine Arts Museum, Kaohsiung Museum of Fine Arts, and Jinling Art Museum in Nanjing, among others. To this day, Ho Kan’s work continues to evolve — the vital energy at the core of contemporary abstraction still pulses within him, radiating a unique poetic rhythm and an understated sense of humor.