By Faustino Quintanilla
Curator of the QCC Art Gallery. The City University of New York

Chaolun Baatar’s works are a little more then topography. They reflect mapping of realms from his artistic preoccupations. He affirms the stand point of his consciousness – Skylight Toono, Horse, and Environment- that determines the highest means by which his spirit experiences truths by the power of his heritage.

He keeps an edge and establishes a connection between the aesthetic elements and documentary values of art. Forms are modeled after extensive environmental meditation after his country and country men’s experiences, with out guilt that forges in to much faith in the human progress and pride in controlling the power of reason.(1)

His oeuvre bare great significance and belongs to both, present and historical past; to transform his conscientiousness into the fertile force of understanding art and the fragile human sensibility. He grasps and expresses the absolute being centered in the distinct forms and content in a way to find himself -not an image- that is our modern hope.
Antithesis to what is happening at the present time in the arts –the particular-self integration in to history- but his particularization in an open biography to the universal soul of his birthright integrate as history.

Chaolun’s art expressions remain vital, possesses a visual strength and cast significant force in present-day life of our concrete, historical peoples. Concepts, like individuals, have their histories and they retain a kind of homesickness from their native place.(2)