“White is the most ordinary of colours, it is also the most extraordinary; it is the absence of colour, it is also the sum of colours; it is the most majestic of colours, it is also the most common; it is the colour of tranquility, it is also the colour of grief.”
— Richard Lin

 

 

In the transformative landscape of post-war art, Richard Lin’s half-century journey from Taiwan to London exemplifies a dialogue between East and West that defines key aspects of 20^th century Asian abstraction. Born into a prominent Taiwanese family, Lin left for Hong Kong in 1949 at the age of sixteen, marking the beginning of a career that would shape his distinctive style. He arrived in London in 1952, where he began studying architecture and art history at Regent Street Polytechnic, setting the stage for an artistic career that transcend conventional categorisations.

 

Upon his arrival in London, Lin encountered the work of Ben Nicholson at the Tate, a formative experience that significantly influenced his development. Nicholson’s abstract compositions, characterised by precise geometric relationships, provided Lin with endless inspiration from the Western artistic vocabulary while resonating with his Eastern roots. Having studied Chinese calligraphy as a child and spent formative years in Japanese schools, Lin was uniquely positioned to synthesise these diverse artistic foundations.

 

A Dialogue Across Centuries

 

The present lot represents a mature expression from the artist’s most celebrated White Series, completed following his participation in the 1967 Pittsburgh International Exhibition of Contemporary Painting and Sculpture, alongside Zao Wou-Ki, Chu Teh-Chun, and Walasse Ting. Like other works from this series, developed throughout the 1960s, this composition explores horizontal elements of black and vermilion, where decisive linear forms engage in a carefully curated dialogue. The pristine white field, characteristic of Lin’s most sought-after works, acts not merely as a backdrop but as an active participant in this visual discourse.

 

This piece invites viewers to engage in the construction of meaning, generating a dynamic energy from the simplicity of the composition –a key concept within Minimalism. The meticulous placement of lines pays homage to Lin’s architectural training while transcending pure geometric concerns. The three-dimensional aluminium extending from the canvas establishes a fundamental rhythm, revealing Lin’s profound consideration of balance, which encompasses both static equilibrium and the effort to challenge boundaries.

 

While firmly rooted in Minimalism, Lin also infuses this work with Eastern aesthetics, reflecting his unique synthesis of the traditions that influenced him. In 1970, during a solo exhibition in Belgium, Lin discussed his rigorous and succinct paintings with  gallery owner Rene Withofs, noting their deep roots in Eastern culture and their invocation of the fluidity and vigour prized in calligraphy. Thus, rather than being purely minimalist, his practice aligns closely with that of Song Dynasty master Mi Youren, with whom he felt a deeply connection. In Mi Youren’s landscapes, a few strokes capture the grandeur of mountain vistas, and just as in those works, there exists a distinction between mere seeing and spiritually perception in this piece.

 

 

 

“What is before us? There are not enough words to describe and no words to do so aptly. Anything can be something; there is no difference between anything, and anything is everything.”
— Richard Lin

 

The Eternal White

 

The present lot is characterised by distinctive layers of white, complemented by bold black and vermilion lines, with a horizontal aluminium element extending beyond the pictorial surface. This composition reflects Lin’s methodical approach to materials and the orderly nature of his creative process. The aluminium integrates seamlessly into the piece, subtly reflecting light against the white background due to its metallic texture, thus transforming the viewer’s perspective depending on the lighting conditions. Lin’s meticulous attention to material interaction is evident here, pushing the boundaries of painting beyond traditional means and engaging with surface, depth, layers, and perception simultaneously.

 

 

 

 

Executed during Lin’s most significant period, the present lot truly exemplifies how his radical reduction of subject matter paradoxically expands the expressive possibilities of abstract painting. It explores how simplicity, when approached with sophistication, can serve as a vehicle for profound complexity.

 

 

Collector’s Digest

 

Richard Lin (1933-2011) was a pioneering minimalist artist born in Taichung, Taiwan, who spent significant periods in Taiwan, Hong Kong and the United Kingdom. After studying architecture at Regent Street Polytechnic and fine arts at Millfield School, Lin developed a distinctive minimalist style that seamlessly merged Eastern philosophical concepts with Western modernism. His international breakthrough came with exhibitions at prestigious venues such as the Institute of Contemporary Arts in London in 1961 and Documenta 3 in Kassel in 1964, where he became the first Chinese artist to participate. Lin received numerous accolades, including the William Frew Memorial Purchase Award in 1967, which he shared with Francis Bacon.

 

His works are housed in major collections, including the Tate Modern in London  and the National Palace Museum in Taipei, making him the first living artist to have a piece enter the latter's collection. Recent exhibitions celebrating Lin's legacy include Richard Lin Show Yu: A Retrospective of Major Works from the 1950s to 70s at Bonhams Hong Kong in 2019 and a solo exhibition Richard Lin Show Yu at Hive Center for Contemporary Art in Shanghai in 2023, underscoring his enduring influence on contemporary Asian minimalism.