The word “Form” in the title suggests an extension beyond the flat surface of the paper. In Mao’s understanding, a single brushstroke does not merely disrupt the composition of the paper; it slices into space and time. That brushstroke cannot be confined to the paper’s surface; it carries volume and a deeper, broader dimension. Within this volume lies the artist’s full awareness of time, space, and the fleeting moment of existence. A painting, in Mao’s view, is not just a flat surface but a three-dimensional entity.

Many of Mao Xinguo's collectors have expressed similar sentiments: even a small “Ink Form“ series artwork can illuminate an entire room. To illuminate a space is, in fact, to evoke our deeper sensibilities. Through his artwork, Mao seeks the inner purity and tranquility that are increasingly absent in today’s fragmented and alienating world, offering means for the human spirit to coalesce and cultivate a solemn attitude toward life. As Mao once said, “There is a sense of destiny in my paintings, which is the most fundamental difference from the abstract expressionists or the traditional Chinese painters.” Whether it is Western modern expressionism, minimalism, or the ancient Chinese masters like the Four Masters of the Yuan Dynasty, Mao holds strong critics toward these monumental figures in art history. He critiques Rothko for his heavy stillness and lack of light, while also questioning the dreamlike, groundless depictions of the ancient Chinese masters. Mao believes his sense of destiny is not derived from abstraction or elusiveness, but from acceptance—an acknowledgment of the universe's inherent order. His acceptance comes from inner peace, where the true self emerges. Thus, his artwork carries no ego but rather reflects a balanced universe.

Jointly curated by Space of Time Gallery and Cosmic Mountain, Beijing, this new exhibition by Mao Xinguo presents a fresh body of work entered around the concepts of time and space, set within the unique architecture and landscape of the gallery on the outskirts of Beijing. In addition to the “Ink Form Series”, the exhibition also features works from the “Figure Series,” “Stone Series,” and “Void Series.” In the “Figure Series” paintings, the characters may lack facial expressions, appear only as silhouettes, or be depicted in reclining postures. Their subtle and abstract forms evoke an indescribable sense of authenticity. These figures can be seen in various scenarios, carrying a strong sense of presence in a specific time and space—they may be anybody or nobody, everywhere or nowhere. This ambiguity and subtlety of the figures lead us into an infinitely expansive reverie on the concept of “form.”