Two groups of his recent painting in thisshow with distinctly different formal languages are displayed in two exhibitionhalls, which formulates the general sense of language and rhythm. The artist HeXun tries to paint with different manners of “pronunciation”; he seeks tosimulate the literature attribute of “rhyme” by presenting the parallelism ofthe “essential vowels” consisted in the figures. The linguistic rhyming is thenvisualized in images, even becomes the visual logic in the flat space, which iscommensurate between literature and images. Hence Kalavinka is about “pronunciation and modelling” and is anintensive presentation of rhythmic images.

The subject Kalavinka is a buddhis term, whichrefers to a holy bird. It is said that its voice is as beautiful as song,fantastic and touching, which gives it another names “exquisite sounding bird”or “goodly sounding bird”. In Buddhist sutra, it is often depicted as thewonderful speech or talk by Buddha and Bodhisattva. The artist borrows thereference of this term from Buddhism to guide his painting and the audience. Bycreating the Synesthesia, the artist expects to inspire reflection andobservation about the subtle relationship between figure and image, betweenwriting and modelling. Furthermore, in the epoch which is characterized withfast flow of image and information, he expects to embark an intellectualexperiment in retrospective to visualize the endangering cultural habits bypainting.

As an artist, He Xun discovers the compatibility between forms andfigures, between language and mass in his painting and writing. He acquires amysterious yet bazar feeling in the gap between the two, then he worksspecifically and diligently when he continues to contest and compromise,conceal and confuse between the two. The artist is expecting the shared rhymebetween contemporary culture and everything and receiving more wonderfulpersistence and continuance.