While receiving recognitions from international juried contests, Ma Sing Ling's artworks also attract great attention in Taiwan. They are highly regarded by Taiwan's famous art collectors, such as Kenneth Lo (Chairman of Industrial Bank of Taiwan), Edward Chen (CEO of Jih Sun Group), and Chen Wu-gang (CEO of Kelti International), who even placed Ma Sing Ling's artworks in their conglomerate-affiliated museums.
In addition to winning favor from Taiwan's collectors, Ma Sing Ling have also been selected by “IS Art Foundation” as their focus artists. The Foundation will make every effort to promote and bring to the international arena, including arranging a series of solo exhibition at home (Taipei, Taichung, and Kaohsiung) and abroad (Beverly Hills of Los Angeles, Hong Kong, Shanghai, Qingdao and Shenzhen).
Ma Sing Ling’s artworks are characterized by their endeavor to challenge the free flow and fluidity of the paint and to grasp its inner vitality out of its unpredictability. That is to say, they manage to develop myriads of manifestations and explore the unlimited possibilities out of the unchanging essence, and to better grasp the essence or the inner qualify from its diverse manifestations. In so doing, they hope to deliver a harmonious unity of mind and representation, a state of mutual nourishment of emptiness and reality. Their
“Spring Breeze” series, for example, is to depict romantic aura emanating from a sea of flowers in a style of “hiding marvel in chaos, revealing verve in ease.” They interweave dots and lines into a fantastic world with various depths, creating an abstract expressionism of a new generation.
Developed from
“The Spring Breeze,” the series of
“Spectacular Blossom” brings the refreshing floral aroma and unrestrained mountainous spirit to the indoor with the painting of still life, namely the flowers. Each flower has its own color and elegance, and yet when put together, their colors mutually reflect one another through light. This series therefore presents not only a simple image of flowers in a bottle, but an open vision of life – through coordination and mutual elevation of one another’s beauty and grace. To capture such a mutually enriching life vision, the artists here draw not the realistic shape of the flower but its halo shed by light, not its exact petals but its verve and brilliance.
As to Ma Sing Ling’s
“Iron Lady,” it features the British former Prime Minister, Margaret Thatcher (1925–2013). Using Mrs. Thatcher and her personal collectible items as the painting motif, especially the agate models of Chinese musical instruments, this series depicts not only Mrs. Thatcher’s strong will but also her tender personality and artistic tastes. With this series, Ma Sing Ling pay tribute to this remarkable female world leader.
More characteristically, the
“Dao” series goes for an utmost simplicity style: each painting features one simple brushstroke. The very stroke of each painting varies in terms of its width, thickness, length, position, color, and brushwork, set against a different backdrop. This requires the artists’ deep cultivation and poses a challenge for artists is to capture “the being between tangible and intangible,” “the existence of no existence,” and eventually “the form beyond form” – the ultimate manifestation of liberation.
As to the
“Qi” series, it addresses the idea that form (the existence) or formless (the abstract) each has its way of exertion and expression. The Qi of a fallen flower is not the fallen flower; The Qi of running water is not the water. The Qi of floating cloud is change; The Qi of moving wind is transformation…. A concrete existence entails the abstract; an abstract implicates the concrete. The great form is beyond form. Specifically, form has never been definite. Dao is the righteous essence; Qi is the exertion of Dao. Dao speaks no words and yet it prevails. Qi has no form and yet it exerts. The Dharma body has no form but develops myriads of forms – Such is it.
While receiving recognitions from international juried contests, Ma Sing Ling's artworks also attract great attention in Taiwan. They are highly regarded by Taiwan's famous art collectors, such as Kenneth Lo (Chairman of Industrial Bank of Taiwan), Edward Chen (CEO of Jih Sun Group), and Chen Wu-gang (CEO of Kelti International), who even placed Ma Sing Ling's artworks in their conglomerate-affiliated museums. In addition to winning favor from Taiwan's collectors, Ma Sing Ling have also been selected by “IS Art Foundation” as their focus artists. The Foundation will make every effort to promote and bring to the international arena, including arranging a series of solo exhibition at home (Taipei, Taichung, and Kaohsiung) and abroad (Beverly Hills of Los Angeles, Hong Kong, Shanghai, Qingdao and Shenzhen). Ma Sing Ling’s artworks are characterized by their endeavor to challenge the free flow and fluidity of the paint and to grasp its inner vitality out of its unpredictability. That is to say, they manage to develop myriads of manifestations and explore the unlimited possibilities out of the unchanging essence, and to better grasp the essence or the inner qualify from its diverse manifestations. In so doing, they hope to deliver a harmonious unity of mind and representation, a state of mutual nourishment of emptiness and reality. Their “Spring Breeze” series, for example, is to depict romantic aura emanating from a sea of flowers in a style of “hiding marvel in chaos, revealing verve in ease.” They interweave dots and lines into a fantastic world with various depths, creating an abstract expressionism of a new generation. Developed from “The Spring Breeze,” the series of “Spectacular Blossom” brings the refreshing floral aroma and unrestrained mountainous spirit to the indoor with the painting of still life, namely the flowers. Each flower has its own color and elegance, and yet when put together, their colors mutually reflect one another through light. This series therefore presents not only a simple image of flowers in a bottle, but an open vision of life – through coordination and mutual elevation of one another’s beauty and grace. To capture such a mutually enriching life vision, the artists here draw not the realistic shape of the flower but its halo shed by light, not its exact petals but its verve and brilliance. As to Ma Sing Ling’s “Iron Lady,” it features the British former Prime Minister, Margaret Thatcher (1925–2013). Using Mrs. Thatcher and her personal collectible items as the painting motif, especially the agate models of Chinese musical instruments, this series depicts not only Mrs. Thatcher’s strong will but also her tender personality and artistic tastes. With this series, Ma Sing Ling pay tribute to this remarkable female world leader. More characteristically, the “Dao” series goes for an utmost simplicity style: each painting features one simple brushstroke. The very stroke of each painting varies in terms of its width, thickness, length, position, color, and brushwork, set against a different backdrop. This requires the artists’ deep cultivation and poses a challenge for artists is to capture “the being between tangible and intangible,” “the existence of no existence,” and eventually “the form beyond form” – the ultimate manifestation of liberation. As to the “Qi” series, it addresses the idea that form (the existence) or formless (the abstract) each has its way of exertion and expression. The Qi of a fallen flower is not the fallen flower; The Qi of running water is not the water. The Qi of floating cloud is change; The Qi of moving wind is transformation…. A concrete existence entails the abstract; an abstract implicates the concrete. The great form is beyond form. Specifically, form has never been definite. Dao is the righteous essence; Qi is the exertion of Dao. Dao speaks no words and yet it prevails. Qi has no form and yet it exerts. The Dharma body has no form but develops myriads of forms – Such is it.