“Why is it so interesting to see extraordinary art from places less explored? Because it is a mini trip into a parallel reality.

A reality where normal is not exactly what we’re used to. Where we get to see the world from a different perspective. And I’m not talking about aboriginal art here (which I find fascinating too). I’m talking about contemporary artists who are engaged with the broader world. Even in our fast-paced, albeit temporarily suspended, and global reality the cultural heritage into which we are born remains an integral part of what makes us “us”, no matter what other influences or academic training we take on later.”

“And the more intact the cultural heritage, the more varied the outlook, for history is part of the present.

Take for example the Yunnan Province on China’s southwest frontier. Firmly on the Old Silk Trade Route, it borders Laos, Myanmar, and Vietnam and is near Tibet and India. Over the centuries, it has absorbed the influences of its neighbours and of the traders passing along the Silk Road. These factors contribute to the region’s Buddhist-infused-philosophical and predominantly lyrical contemporary art.”

“One extraordinary multidisciplinary artist who hails from Kunming, the capital of Yunnan Province, is Gao Xiang.

As a teenager, despite being recognised as a talented artist, he sought to become a Buddhist monk - something that sounds eccentric to us but is a normal and highly respected life path there. He applied to the head monk of an ancient Buddhist Temple. Crushingly, the old monk told him to wait, saying that he had to fulfil a major task in the external world first. The monk did not tell him what that task was.”

“At a time when hutongs are disappearing and tradition is being rapidly replaced by loosely regulated Western high rises and consumerism, Gao Xiang brings cultural heritage into contemporary visual language.

Take for example his deceptively simple “Horse Pagoda” series.”

“Gao Xiang adds an additional layer of history through the shape of his horses. For him, the horse is a complex force that not only holds the mysteries of the universe and Chinese traditions but is a symbolic extension of his soul. He can capture the horse in full gallop or bridging the earth and the stars - but in his Horse Pagoda series, the stacked horses are in the form of Tang Dynasty terracota figurines.

During the Tang Dynasty (678 - 907 AD) art and literature blossomed. In China, the horse symbolises wealth and power and many of these figurines were made specifically to be placed in the great burial mounds of deceased dignitaries.”

“The fourth cultural layer of Gao Xiang’s “Horse Pagoda” series comes from his use of colour.

Generally, Gao Xiang keeps to the traditional Chinese ink colour palette of red, white, and black, even in his works on canvas. But the richest and most diverse references come from the colour red, associated with the element of fire.”

“Some of you may have noticed the occasional presence of a small man atop the horse pagoda. The man is symbolic of Gao Xiang, small in relation to the horses and all the mystery, power, and history that they stand for. His arm is raised to his forehead and he is looking towards the horizon, trying to discern an uncertain future.”

“All this, from a seemingly simple pyramid of abstracted horses! But as with any extraordinary work of art, whatever the philosophy, in the end what comes through is the soul. From our visitor’s book ...”

“Very powerful horse pagodas. They speak to the heart and soul.”

“So beautiful. The horses look as if they have souls.”