Darius MA 馬志恒
Darius (b.1960) graduated at the Hong Kong First Institute of Art and Design in 1979. With his passion in art, he pursues his career as a graphic designer, and has always got involved and collaborates in painting/creating with Hong Kong and China artists, such as Fish King(魚王) and Yu Kewei (余克危) ever since his graduation.
From ancient times to present, there is a strong relationship between calligraphy and Chinese painting. The study of calligraphy has always been adhering to master’s training, based on the pursuit of harmony and reconciliation, the training focuses on imitating master artists’ writing, while creativity is not much encouraged. Whereas Japanese calligraphy is complemented by a lot of contemporary design elements and bold new ideas. In recent years, there have also been a rising number of contemporary calligraphy creations in China and Taiwan.
I have been learning and practicing Chinese calligraphy throughout my creative years, it is a basic element for the foundation of Chinese ink paintings. As a graphic designer, I coupled with the techniques of contemporary calligraphy, and create as per Buddhist theory of “to create as per one’s emotion & passion… together with aptitude”.
The inspiration of this series is from the word “horse”… which quickly come to mind was the Confucian saying "white horse is not a horse", and advanced to more Chinese words that were used to describe horses such as spirited horse, colt, black horse… and branched out to some other all in cursive writing, and I strive to trace the coordination between lines, curves, color, space and all… In addition to the basic skills of calligraphy, the creative elements also use the overall space composition, shade gradation and Chinese ink painting techniques, where I blend in the western color pigments with a final touch as highlight.
In his series Wu Wei 無為 , the artist combines the use of Chinese ink and acrylic on rice paper. Through his use of wild brushstrokes, the artist explores the interaction between the two medium – ink and acrylic and their effect on rice paper; the blended and unblended synthesis of ink and acrylic creates exaggerated and indefinite shapes. The artist emphasizes on the notion of time and space, resulting in strong visual tension in the compositions of the paintings.
Wu Wei無為 stemmed from Lao Zi’s concept of無為而無不為 – Let it be, yet everything is accomplished. The artist’s concept for the series focuses on effortlessness. The materials engage and interact with each other without any sort of control or force through fluid and gestural brushstrokes.
這系列談不上是書法，更不能攀附書道，幸是設計師出身，加上當代書法家之手法，再借用佛家之「唯心所造，唯識所現」 之理念創作。首「概念」是馬為主幹，即想到儒家之「白馬非馬」和形容馬的名詞如駿、駒、驪等字以排筆寫草書，力求追尋線條與空間之協調， 再返回基本理念，用行楷，草書等構成空間、正反之畫面。創作元素除書法基本功外，亦利用整體之空間、構圖、水墨技巧，最後揉合西方之色彩作連貫。
「無為」是借用 _道家「無為而無不為」的理念，究其實，其中心理念是「自由無為」，包含著「自然」與「無為」兩層意義。「自然」是一種觀念、態度和價值，也是一種狀態和效果；「無為」則是一種行為，是實現「自然」的手段和方法。兩者密不可分、互相關連。重點是忠於自我，用心靈感受為意境， 做應該做的事， 隨心而發，隨意而行 ……
Bronze prize winner of Genesis Building Rolls Royce Car Artistic Reinterpretation Competition
The Peninsula, Shanghai, China
New World Millennium HK Hotel
Ritz Carlton, Macau