Ho Kan, a Chinese painter, on the decline of the 1950s, takes the road of abstraction, when together with other artists he founded the Ton Fan group, the first Chinese avant-garde movement, modeled on the abstract layout of Western origin. But his path first touched the stages of adherence to reality and of a figurativeness distorted by surreal inflections. Initially, Ho Kan's abstraction was invested by gestural impetus and ideogrammatic signs, where painting and writing overlap according to a character inherent in Far Eastern expression.
Geometric metrics and rarefaction arrived later, as a development of the indeterminacy and energy of the liberated gesture, towards a rational control that did not however exclude mystery and sign.
Ho Kan, in his paintings, has chosen to represent not what is seen, but what cannot be seen, for him, art is the vision of the invisible.
His works focus on the void, which is neither the first protagonist, a surface of uniform color, stretched like silk, which communicates a feeling of silence, and on this surface some signs come to light.
Ho Kan uses geometric signs, paints his idea of life, being for him the sudden appearance of an individual voice in the continuity of the universe.
Thus Ho Kan represents in his works the inexplicable relationship between the one and the whole, between the part and the interior.