幾何的詩情─霍剛2015新作選

Geometric Poetry─A Selection of HO Kan’s New Works in 2015

文/ 藝術史家 蕭瓊瑞

Text by HSIAO Chong-Ray, Art historian

作為台灣1960年代現代繪畫運動中最具代表性的藝術創作者之一，霍剛的藝術發展幾乎只經歷一次脫胎換骨的變化，那便是在1960年代中期，由一種神秘、扭動的超現實畫風，走向靜謐、寂寞，又充滿詩情的幾何式抽象；理性與感性並存，且充滿音樂性的律動與哲思性的深邃。如此風格，超過一甲子，2015年的新作，基本上也是在這個脈絡中；但整體而言，多了一些形式上的變化與色彩的多樣性。即使如此，仔細劃分，仍可歸納為△、□、○等幾個基本構成。茲簡論析釋如下：

As one of the most representative artists in the modern painting movement in Taiwan in the 1960s, Ho Kan’s artistic career seems to have only undergone one transformative change. That change took place in the mid-1960s, in which Ho’s mysterious, writhing surrealist style shifted to a geometric, abstract style that surfaced as tranquil, lonesome, yet poetic. This new style of his juxtaposed sense and sensibility as well as a profound sense of musical movement and philosophical thinking. Since then, Ho has carried on in this style for over six decades. His new paintings in 2015 were mainly created in the same style and context. However, overall, some variations in form and diversified colors have been introduced into these new works. After a close study, one could categorize them by three basic elements of △, □, and ○, and the following is my preliminary analysis.

一、從△出發的類型：
1. Developing from the shape of △

△是人類文明中極早出現的圖形，它是一種既穩定又富動力的象徵；埃及的金字塔是△終極的表現，代表永恆不變卻又不斷提昇向上的信仰與力量。
△ is one of the earliest shapes that appeared in the history of human civilization. It is a symbol of both stability and movement. The Egyptian pyramids are the ultimate materialization of the symbol, embodying the infinitely unchanging and constantly uprising faith and power.

在許多古文明中，△象徵男性，如中國的「且」字，金文即作■，也是「祖」字的原型。△與數字的3往往相通，代表起點、中點，與終點；同時也是三位一體：聖父、聖靈、聖子，或三一組合，如：肉體、靈魂、神靈，或男人、女人、小孩的象徵。
In many ancient civilizations, △ is the male symbol. For example, the Chinese character “且” in ancient Bronze inscriptions is “■,” which is also the foundation of the character “祖.” △ is also associated with the number three, symbolizing a beginning, a middle, and an end. It also represents the Holy Trinity—the Father, the Son and the Holy Spirit—and different triads such as body, soul, and spirit as well as man, woman, and child.

在霍剛的創作中，△或許沒有那麼複雜的象徵，但從△出發的畫面構成，往往具有一種拉扯與力動的意義，如：〈抽象2015-050〉(Abstract 2015-050)(圖版x)、〈抽象2015-052〉(圖版x)。前者在一個斜邊三角形(黑色)的結構中，內含一個由三個正圓形所暗示的正三角形(白色)，兩者形成拉扯，特別是斜邊三角形與正三角形的對應、黑色與白色的對應；而被當作背景的黃綠，其實也是一些接近三角形的造形，和前方的三個正圓(黃色)，形成既呼應又對照的關係。霍剛是一位擅於運用簡單造形創造豐富視覺內涵的藝術家。
In Ho’s painting, the symbol of △ might be a little bit less complicated; however, the construction developed from △ usually suggests a sense of pulling and moving forces. Examples can be found in Abstract 2015-050 (f.01) and Abstract 2015-052 (f.02). The former one has an equilateral triangle (white) implicitly comprised by three circles within a right triangle (black). The two parts form a resisting relationship between the right triangle and the equilateral triangle as well as the color black and the color white. The yellow and green in the background actually create a triangular form, echoing and contrasting to the three circles (yellow) in the foreground. Simply put, Ho is an artist that masters using simple forms to create a rich visual presentation.

〈抽象2015-052〉，初看是類似兩個形如帳篷的三角形。其實，左邊一個較大的三角形，因身上多加了三條切割的橫線，使得其中多了三個大小不同的三角形；而右邊一個似乎在傾斜坡地上的較小三角形，頂端又插了一支猶如旗幟的三角形。全幅在穩定與傾斜中拉扯，而色彩就是白、淺磚紅、淺天藍，和深綠，對比中有協調，外圍再以一個白框框住，讓傾斜重新穩住。
Upon seeing Abstract 2015-052 for the first time, it seems to portray two tent-like triangles. In fact, the larger one on the left contains three horizontal lines that divide the triangle into three different triangles; and the smaller triangle on the right seems to be situated on a slope with another triangle on its top that resembles a flag. The entire composition involves a resisting dynamics between stability and slant. The colors used are white, light brick red, light sky blue and dark green, which bring out together a harmonious relationship despite some contrast. The composition is eventually encased in a white frame that counterbalances the slant.

此外，同樣這件作品，在較大的三角形上，劃出幾條橫線，讓這看似帳篷的三角形，更加上了文化的色彩，一如印第安人的帳篷；但在古代煉金術的符號中，三角形分別代表火、風、水、地四大元素：△代表火、■代表風，也就是空氣，▽代表水，■代表地。四者一旦結合，就成了一個強而有力的六芒星形，■也就是以色列民族所謂的「永恆之星」。
In addition, the horizontal lines on the larger triangle in this painting also add a cultural quality to this tent-like triangle. Firstly, it reinforces the association with the tent of the Indian tribes. On the other hand, in ancient alchemic symbols, triangle signifies the four fundamental elements: △ represents fire; ■ symbolizes the wind, that is the air; ▽ means water; and ■ is the earth. When the four symbols unite as one, it is the powerful hexagram, ■, which is called “the star of eternity” by the Israelis.

正三角形△，象徵男性，倒三角形▽，則是女性的象徵，也是中國古字「帝」的原型，所謂「上帝」、「陰蒂」、「花蒂」，都有生命之源、萬物之始的意涵。在霍剛的△形系列中，也有許多正三角形與倒三角形反覆排列構成的作品，如：〈抽象2015-053〉(圖版x)、〈抽象2015－061〉(圖版x)等。
An equilateral triangle symbolizes the male while an inverted one refers to the female. The latter is also the foundation of the ancient Chinese character, “帝” (king), used in terms like “上帝” (God), “陰蒂” (clitoris), and “花蒂” (the stalk of a flower), which all convey meanings like the origin life and the beginning of things. In Ho’s painting series of △, equilateral and inverted triangles are repeatedly used and arranged, such as in Abstract 2015-053(f.03) and Abstract 2015-061(f.04).

〈抽象2015-053〉是把一個巨大的三角形切去上角後反折，然後再在其中切開一個三角形，往上回折；如此一來，就成為一個看似為梯形的主體，下有一裂縫，上有一橫線，橫線之上又有一圓點，而圓點正在小三角形的尖頂之上，形成一種強烈卻隱藏的中軸線。
Abstract 2015-053 presents a gigantic triangle, which is cropped of its tip and folded downwards. Another triangle is created within the shape and folded upwards. Hence, a main subject that looks like a trapezoid is formed, which has a crevice below, a horizontal line above, and a circular point above the line. The circular point also falls on top of the tip of the small triangle, constituting a strong yet implicit axis.

〈抽象2015-061〉則是在一個四方形中，切割一角，形成一個白色倒三角形，而順著這個白色倒三角形，畫出底下一個內含正圓的等腰三角形，最後則由這個斜邊角度，再決定左方那個較小的白色倒三角形；只是這個白色倒三角形的兩個正邊，並沒有非常精準地與大倒三角形的正邊完全平行，因此，也就在看似對應中，又帶著些許傾斜。
Abstract 2015-061 shows a rectangular shape, of which a corner is separated and forms an inverted triangle in white. Along the line of this white inverted triangle, there is an isosceles triangle that contains a circle. Finally, the angle of the hypotenuse determines the smaller inverted triangle in white on the left. However, the two equal sides of this white, inverted isosceles triangle are not perfectly paralleled with those of the larger inverted triangle. Therefore, the seeming corresponding presentation has a tilting quality to it as well.

在由△出發的畫面類型，還有一些和圓形或弧形搭配的作品，較出色者如：〈抽象2015-062〉(圖版X)。這件作品以兩個白色正△堆疊，而將畫面橫向切割成三個部份，分別以類似的淺藍為底，上方是一個有著黑色圓點的大圓弧，優雅而開闊，有著一種天圓地方而△居中的宇宙意象。
In the paintings developed from △, there are some works that incorporate circles and arches as well. A fine example would be Abstract 2015-062 (f.05). In this painting, one right triangle in white is piled above another white right triangle. The image is divided into three tiers as the background is portrayed in three similar colors of light blue. At the top of the image lies a large arch with a black dot in an elegant and all-embracing way, introducing a cosmic image that situated the triangles amidst the round sky and the square earth.

二、從○出發的類型：
2. Developing from the shape of ○

○是人類符號文明中，最原始卻也最圓滿的形狀。圓形看不出起點與終點，因此和△的具有起點、中點、終點的象徵不同；○往往代表一種圓滿、永恆，與完美。在基督的信仰中，○代表男性與女性合一的本質，也象徵上帝，或環繞地球的水域，乃至生命的循環。而在東方佛教禪宗的理念中，同心圓則象徵內心修行臻於完美的不同階段，也是人從一個階段進展到下一個階段時心靈上的和諧與擴展(或凝聚)。有名的「枯山水」 中的同心圓沙痕，正是顯例。
○ is the most primitive and perfect shape among the symbols of human civilization. One finds no beginning and end in a circle, which makes it different from triangles that have beginnings, middles and ends. ○ is often used to refer to completion, eternity and perfection. In Christianity, it symbolizes the unity of man and woman as well as God, the waters around the planet, and the cycle of life. In Eastern Zen Buddhism, concentric circles signify different stages of perfection of one’s spiritual practice. It represents the inner harmony and expansion (or coherence) of moving from one stage to the next. The concentric sand markings of the well-known “karesanshui,” or dry landscape, is a notable example of this.

霍剛2015年的新作中，有大批從○出發的創作，而這類作品，又可分為兩大類型：一是圓形內部呈顯對稱或放射狀者，如：〈抽象2015-054〉(圖版X)、〈抽象2015-058〉(圖版X)，和〈抽象2015-059〉(圖版X)等；另一類型則是圓形內部呈現不規則或帶著旋轉性者，如：〈抽象2015-055〉(圖版X)、〈抽象2015-056〉(圖版X)，和〈抽象2015-057〉(圖版X)等。
A good amount of Ho’s new paintings in 2015 begins with the shape of ○, and among these works, two types could be observed. The first group shows a symmetrical or a radiating pattern within circles, such as Abstract 2015-054 (f.06), Abstract 2015-058 (f.07), and Abstract 2015-059 (f.08). The other one reveals an irregular pattern or a spinning momentum within circles, like Abstract 2015-055 (f.09), Abstract 2015-056 (f.10), and Abstract 2015-057 (f.11).

呈顯放射狀最明顯者，如〈抽象2015-054〉，是在粉紅底的蘋果綠圓形中，圓心以兩個正方形組成，並由此放射出四個方向的黃色光束，光束末端則各有一紫色的圓點。
The radiating pattern could be seen most clearly in Abstract 2015-054, in which an apple-green circle in a pink background contains two squares at the center. Yellow rays of light radiate into four directions, and each has a purple round dot at the end.

〈抽象2015-059〉則以兩個形成十字的白色帶狀，上下對稱，上下的藍色，對應中間的紅；而圓心的黑點，因上下白色十字的壓縮，產生一種略被壓扁的意象。紅／藍、黑／白，是這幅作品最簡明而強烈的色彩對應，全幅再置於一個鵝黃的正方形底色上。
Abstract 2015-059 displays two white crosses on the top and at the bottom of the image, symmetrically corresponding to one another. The blue color on the top and at the bottom responds to the red in the middle. The black dot at the center of the circle seems to be crushed a little due to the compression of the two white crosses. Red and blue as well as black and white form the simplest and strongest color combinations in the painting, and the entire image is backgrounded by a light yellow square.

〈抽象2015-058〉的對稱，是以圓心為核心劃開的幾個對角線正方形，又是以白／紅／藍(均為正方)，外加淺綠(扁方形)所形成的對應色彩，相對於土黃的正圓與灰綠的正方形底色，有一種彩度上的強烈落差所形成的鮮明印象。
The symmetry in Abstract 2015-058 is formed by a few squares in a diagonal arrangement around the center of a circle. The colors of white, red, and blue (of the squares) correspond to the color of light green (the rectangles), standing out from the circle in earth yellow and the background of a square in grayish green. The powerful contrast in color saturation creates a vivid impression.

圓形內部呈現不規則者，以〈抽象2015-055〉(圖版X)為代表。這個圓形的內部，是先在右邊切上一角，之後，再在下方又切一角，然後以不規則的類三角形或梯形，由右側伸展出來，甚至超出圓的外部。色彩上，以紅／白／灰為主體，再襯以淺蘋果綠的底色。整體看來，紅與綠的對比色，由白／灰／淺灰的類比色所襯托。
In terms of irregular patterns within a circle, the representative work is Abstract 2015-055(f.09). In this circle, a part is cut away from the right side. A part is also cut away from the lower left side. An irregular shape that resembles a triangle or a trapezoid extends from the right to outside of the circumference. The colors used here are mainly red, white and gray, foiled with a background in light apple green. Generally speaking, the contrast between red and green is complemented by the analogous colors of white, gray, and light gray.

另兩件帶著旋轉意味的作品，是〈抽象2015-056〉(圖版X)與〈抽象2015-057〉(圖版X)。前者 以紅／藍／綠三色的對比，襯在淺藍的底色上；後者則全幅均為深淺不一的蘋果綠，圓心部份是呈顯S形的深藍，搭配一些亮眼的空白，以及一點細微的紅。這些旋轉的圖形，都讓人容易聯想起中國或韓國的太極圖形，引發觀者對生命宇宙的生成思考。
The other two paintings that have a spinning implication are Abstract 2015-056 (f.10) and Abstract 2015-057(f.11). The former is comprised of a contrast between red, blue, and green in a light blue background; and the latter has the entire image in various shades of apple green while the center of the circle reveals a S-shape in dark blue with some bright blanks as well as a little subtle redness. These spinning images remind the audience the Tai Chi symbol in China and Korea, inviting us to contemplate on the formation of life in the universe.

三、從□出發的類型：
3. Developing from the shape of □

從□出發，包括正方形和長方形的類型，也占有霍剛新作中的相當數量。這些作品中，有純粹□的構成，如：〈抽象2015-060〉(圖版X)；但更多的是局部加入圓形或圓點的組合者，如：〈抽象2015-051〉(圖版X)、〈抽象2015-085〉(圖版X) ，及〈抽象2015-064〉(圖版X)、〈抽象2015-078〉(圖版X)、〈抽象2015-079〉(圖版X)、〈抽象2015-081〉(圖版X)等。此外，也有同時加入圓形(圓點)和三角形的組合者，如：〈抽象2015-068〉(圖版X)、〈抽象2015-074〉(圖版X)、〈抽象2015-086〉(圖版X)等。
There is also a large number of paintings developed from the shape of □ in Ho’s new works, including squares and rectangles. Among these paintings, some constructions only use □, such as Abstract 2015-060 (f.12). However, there are more paintings that partly incorporate circles or round dots, such as Abstract 2015-051 (f.13), Abstract 2015-085 (f.14), Abstract 2015-064 (f.15), Abstract 2015-078 (f.16), Abstract 2015-079 (f.17), and Abstract 2015-081 (f.18). Meanwhile, some also include combinations of circles (round dots) and triangles, like Abstract 2015-068 (f.19), Abstract 2015-074 (f.20), and Abstract 2015-086 (f.21).

總之，以□出發的類型，往往給人一種較規整、莊嚴的宗教性聯想，一如西藏佛教密宗信仰中的壇城沙畫。
In short, paintings developed from the shape of □ often seem more orderly and stately in a religious manner; they remind people of the “dul-tson-kyil-khor” (mandalas of colored powders) of Vajrayana, the Tantric Buddhism in Tibet.

壇城亦稱「曼達」，或「曼陀羅」，是佛教宇宙世界的象徵；往往以正方形代表宇宙的四個主方向，也就是佛教中的四界。霍剛或許無意以此構成來比附於佛教的禪畫，但由這些方圓結構，乃至四界、四邊、四門暗示的構成，無疑即形成極具精神性的空間隱喻。
Mandalas symbolize the Buddhist cosmos, and use squares to represent the four directions of the universe, or the four worlds in Buddhism most of the time. Perhaps, Ho does not mean to refer to Buddhist paintings with his use of squares, However, through the structure of squares and circles as well as the subtle constructions of the four worlds, four edges, and four entrances (or directions), the artist has unquestionably created a metaphor for a highly spiritual space.

霍剛2015年的新作，在△、○，與□的構成中，呈顯他旺盛的創作能量；但這樣的構成，如何避開落入「美術設計」的陷阱，便考驗著藝術家內在涵養的深度。李仲生曾在1954年一篇〈論抽象派繪畫〉(《文藝月刊》10月號)的文章中提到：「抽象藝術的技術與材料，完全是自由的，並無一個限制的範圍。不過，不論用任何塗法所塗出來的顏色，或是由任何機械所造成的表面，都不能缺少作家所賦予的『造型生命』。所以，作為一個抽象派畫家所最宜敏感地警戒著的，就是技法上的動輒容易陷於工藝化之點。」
Ho’s construction of using △, ○, and □ in his new paintings in 2015 show an exuberant creative energy. However, how to sidestep the trap of being taken as “artistic design” when using these constructions tests the profundity of the artist’s thinking and cultivation. In an article, titled “On Abstract Painting,” published in 1954 (October Issue, Culture and Art Monthly), Li Chun-Shan stated that “the techniques and materials of abstract art are completely free. It does not have a limited range. Nevertheless, no matter the colors painted in any manners, or the surfaces created through any mechanical means, the quintessential thing is ‘the life of form’ bestowed by the artist. Therefore, being an abstract painter, one had better be acutely aware of the fact that techniques might often easily make him appear to be an artisan instead of an artist.”

又說：「……如『構圖』(Composition)與『構成』(Construction)不但極需要，而且要進一步朝向純粹化的領域發展。即使是材料的使用法、畫面的技法，始終都要要求嚴格，尤其對於含有筆觸的技法，幾乎希望要有與各作家的體質發生緊湊的關係；…(也就是說)都必須具備與作家體質攸關的個性上的表現力。」
Li also said that “[…] not only composition and construction are extremely needed, both need to move in the direction of purification. One must always be strict in applying of materials and techniques to create images. In particular, the techniques that show brushstrokes must have a close relation to the individuality of the artists…that is to say, they must possess characteristic power of expression deeply rooted in the individuality of these artists.”

霍剛的創作，常年以來，正是在強調「造型生命」的前提下，表現其個人特有的個性與體質，也在這樣的要求下，形塑了他繪畫創作上突出的特點與魅力：
Throughout the years, Ho’s painting has always emphasized the premise of “the life of form,” which demonstrates his character and individuality. Because of such a discipline, it has also fashioned the unique qualities and charm in his painting.

一、 濃厚的手感，而非冰冷的機械。

乍見霍剛的作品，看到這些幾何的造型，很容易將他歸類到西方的幾何抽象，又稱「冷抽」(Cold Abstract)的系統中；但仔細觀看霍剛的幾何造型，卻充滿了手感的溫度，一點也不機械，一點也不冰冷，和西方幾何抽象的「冷抽」，有著極大的距離。

1.) An obvious warmth of hand-painting rather than mechanical coldness

First seeing the geometric shapes in Ho’s paintings, one might be tempted to associate his art with the Western geometric abstraction, or the Cold Abstract. However, after a closer examination of Ho’s geometric shapes, one would find that they emit a sense of hand-painted warmth that is neither mechanical nor cold. His art is extremely different from the Western geometric abstraction.

即使是一條線，很可能是畫出來的，也可能是刮出來的，但更多的是留出來的。所謂的留，就是用其他的色面加以敷蓋，色面與色面之間，就留出了原來的底色，而形成了線。這種多樣的技巧，也就形成畫面豐富的視覺內涵，予人玩味無窮的空間。在仔細的觀察中，霍剛的作品「手感」十足，似乎很少使用「膠帶遮掩」一類的手法；所謂的面、線、形，似乎都是以手繪的方式達成，因此沒有尖銳、冰冷的感覺，反而是充滿了溫情與深沈的內涵。
Even just one simple line might be painted or scraped. Yet, more are indirectly created by covering a plane of color with another. Therefore, the original background color surfaces as a line between the two color planes. His diversified skills create the enriched visual connotations in the image, giving the audience an infinite space of imagination. Closely observing his painting, they convey a strong sense of hand-painting that rarely employs “the covering of masking tape.” The planes, lines, and forms are all painted by hand, which replace the feeling of sharpness and coldness with a sense of warmth and meaningful depth.

二、 豐富的肌理，而非單純的色面。

由於是以手繪的方式構成畫面，因此在畫面的各個色塊上，留下許多手繪的筆觸，乃至色彩底部畫布的質感，而形成了豐富的肌理。

2.) The rich texture instead of simple surfaces of colors

Because the paintings are hand-painted, the color blocks in the image show a lot of brushstrokes, and together with the texture of the canvas under the colors, they have formed abundant texture.

這些具有手感，乃至筆觸方向的肌理，強化了作品本身的繪畫性，而避開了流為「設計」的可能危機。在當年李仲生的教導中，曾以手諭的方式，提醒學生：
The characteristics of hand-painting as well as the texture of brushstrokes enhance the painterly quality of the works and resolve the dilemma of being possibly taken as “design.” When teaching his students back in those years, Li Chun-Shan once reminded his students with a hand-written note.

「要有素描基礎。現代的畫，有現代的素描基礎；我認為現代的畫，如果沒有素描基礎，那麼，不是畫成圖案，便畫到插圖去了。不過，現代繪畫的素描，不同於傳統繪畫的素描罷了。」(李仲生〈我的繪畫思想〉)
One must possess the skill of sketching. Modern painting still requires basic skills of modern sketching. In my opinion, modern painting without basic sketching skills would become either drawings of images or illustrations. The only difference lies in that the sketching of modern painting differs from the sketching of traditional painting. (Li Chun-Shan, “My Painting Philosophy”)

霍剛對畫面肌理的掌握，也正是霍剛現代繪畫素描基礎的一種展現，鞏固了作品的繪畫性與藝術性，而非一般的平面設計。
Ho’s mastery of the texture of the image also displays his sketching skills in modern painting that validate the painterly and artistic qualities of his work, rendering them different from common graphic design.

三、 多層次的彩度，而非單一色相的明度。

早在旅義初期的作品上，霍剛的色彩便大多偏重粉調的中間色，曾有批評家建議：「年輕的霍剛，應把調色盤裡多摻些陽光吧！」(向邇〈東方畫展瑰麗多樣性〉)

3.) Various shades of color saturation and not just the value of a single hue

In his works from an early period in Italy, Ho has already largely used neutral colors in pastel tones. One art critic once suggested that “the young Ho Kan should add more sunshine to his palette!” (Hsiang Erh, “The Splendid Diversity of Ton Fan Art Group Exhibition”)

但就霍剛日後藝術的發展而論，「陽光」的意象，並不是霍剛作品中企圖訴求的目標。在霍剛長達逾一甲子的創作中，他反而是建構了一種殊異、且如詩一般的神秘色彩特質。這些色彩，都不是陽光底下所能見到的物象原色，甚至在一般的色票當中，也不易尋得。霍剛畫面中的色彩，往往是在畫室中經過多次調和後所得到的一種特殊色。而這樣的調和，不只是在調色盤上進行，更重要地，是在畫布或畫紙上進行；因此，往往在一個色彩表層下，還隱隱透露出另一底層的色彩，形成一種若有若無、盪漾晃動的謎樣感受。如：〈抽象2015-076〉(圖版X)、〈抽象2015-081〉(圖版X)等。
Judging from Ho’s later artistic development, nonetheless, the image of “sunshine” has never been the goal pursued in Ho’s paintings. During his six-decade career as an artist, Ho has contrarily constructed a remarkably individual and poetically mysterious quality with his color scheme. His colors are not the common, original colors that could be found everywhere; they are even not easy to find in ordinary color swatches. The colors used in Ho’s paintings are usually unique ones created after multiple times of mixing in his studio. The mixing of colors is not simply conducted on the palette, though. More importantly, it is done on canvas or paper. Therefore, under the surface of one color, another color often slightly comes through, producing a mysterious effect that is faintly discernable and somewhat rippling, for instance, Abstract 2015-76 (f.22) and Abstract 2015-081.

四、 靈變的色彩搭配，而非制式的配色原理。

在色彩的搭配上，霍剛也充分發揮了類比色與對比色的靈活搭配。大體上，他經常將一組類比色尤其是屬於寒色調的類比色，作為畫面構成的主要架構；而這些較大面積的類比色中，經常可以看見相鄰的兩色，其中一色有著另外一色的存在，這便是色彩多次疊刷所得到的效果。在這樣的類比色架構中，藝術家再置入一種對比色或黑白無彩色的小型元素，或是圓形、或是三角形、或是細線，於是這些對比色就讓整個畫面，產生一種突顯、跳躍、提振的視覺感受。小型元素的對比色，往往成為視覺的焦點；但大的類比色，則形成了畫面整體的氛圍。

4.) An ingenious combination of colors that defies principles of standard color scheme

As for his color scheme, Ho adopts an ingenious combination of analogous colors and contrasting colors. Generally speaking, he often uses analogous colors, especially cool colors, to construct the primary part of the image. One often sees two similar colors next to one another in these large surfaces of analogous colors. One of the two colors often takes in the other color; this is an effect gained from multiple brushing and layering the colors. Moreover, within this analogous color structure, the artist often places smaller elements in contrasting colors or achromatic colors, like black and white. These elements could be circles, triangles or thin lines, and the contrasting colors would create a prominent, popping, exalting visual perception. The contrasting colors of the small elements usually become the focal points whereas the large areas in analogous colors contribute to the atmosphere of the whole images.

五、 形色的有機組構，而非以色填形的色彩遊戲。

色彩並不能單獨存在，它必須和「形式」共同考量。霍剛的形式，也始終是在一種最單純的幾何造型如點、線、面中，進行各種均衡／不均衡、對稱／不對稱、幾何形／非幾何形、直線／非直線的對話與組構。

5.) Organic combination and construction of forms and colors instead of just filling forms with colors

Colors do not exist alone, and must be taken into consideration together with forms. Ho’s forms are always the purest geometric shapes with dots, lines and planes, with which he conducts all kinds of dialogues and compositions of balance and imbalance, symmetry and asymmetry, the geometric and non-geometric, and the lineal and non-lineal.

色的組構加上形的組構，霍剛的繪畫就營造出一種看似設計，其實充滿人文性與精神性的藝術創作。色彩營構氛圍、形式提供情節；尤其在形式當中，線條的方向、圓的大小或三角形的排列，都具有高度示意性的功能。霍剛的作品於是充滿了一種似乎有事正在發生、或顯然有話想要述說的謎樣特質，這種特質正是音樂性的、也是詩的特質。
With the construction of colors and the construction of forms, Ho’s painting surfaces that seemingly resemble works of design are actually artistic creations filled with a sense of humanistic tendency and spiritual quality. His color constructs the atmosphere while his form fabricates the plot; especially his form, from the directionality of lines, to the sizes of circles, to the arrangement of triangles, they are all highly signifying. Consequently, Ho’s painting always seems to beckon at something that is taking place or a mysterious quality suggesting that the painting has something to say. This quality is as musical as it is poetic.

六、 是文化映現的精神空間，而非形色組合的物理平面。

霍剛的作品，看似西方幾何抽象的表面，其實蘊含了東方文化的深沈記憶與詩情。他的許多作品，深受中國書法藝術及金石結構的影響。由於祖父秋崖公擅長書法，他小時候經常幫祖父拉紙，注意到祖父書寫時的動作和神態，見他時而氣勢磅礡、時而抑揚頓挫，這種「氣」的流動與落痕，給了他極大的啟示，也成為他日後畫面中流暢、沈潛的律動性。至於金石藝術正反面的效果，乃至陰刻、陽刻的結構變化，都讓他在造型上獲得許多靈感。後期的創作，則再加入一些商周青銅禮器，乃至漢代建築瓦當圖紋的吸納與暗示，化為造型和色彩的靈泉。他曾形容：在色彩上，要像青銅器般「重的都浮上來，而最輕的又無比沈重！」這種輕重交錯的律動，一如音符高低起伏的顫動，也是一種文化底蘊的展現、精神空間的呈顯。

6.) A spiritual space that reflects culture rather than a physical surface of form-color combination

Despite an appearance that might look like the Western geometric abstraction, the profound memory and poetry of the Eastern culture is inhering in Ho’s work. Many of his paintings are deeply influenced by Chinese calligraphy and the art of seal carving. Ho’s grandfather, Chiu Ai Kung (meaning autumn cliff), was an excellent calligrapher. When Ho’s was a child, he often helped his grandfather by tucking the calligraphy paper. He noticed the movement and look of his grandfather when he was writing calligraphy, which sometimes exemplified tremendous momentum and sometimes revealed great cadence. The flow and trace of “chi” (or air) was truly inspiring for him, and paved the way for the smooth movement and rippling rhythm in his paintings afterwards. From the effect of an impression and its mirror image in the art of seal carving to the structural changes of intaglio and relief, they all provide inspiration to his creation of form. Perceiving and assimilating what he has seen in the bronze sacrificial vessels from the Shang Dynasty and Zhou Dynasty as well as the patterns on the eaves tiles of buildings from the Han Dynasty, Ho also turns them into a source of inspiration and adds them into his later paintings. He once said that in terms of colors, one must learn from the bronze vessels that “let the all the weight float up, and make the lightness seem incredible heavy!” It is this rhythmic interplay of the lightness and weight that could be associated with the rising and falling of musical notes. It is a kind of demonstration of cultural tradition and values as well as a representation of a spiritual space.

2016年的新作，基本上，仍是在這樣的特點下，持續性的開展與表現。
In essence, the new paintings in 2016 have been developed and created with these unique qualities.