Exhibitions 리스트보기 슬라이드보기 Current Upcoming Past Window Gallery

  • Untitled 76-8
  • Untitled 012-5-7
  • Untitled 73-12-11
  • Untitled 73-A-15
  • Untitled 74-6
  • Untitled 85-2-5
  • Untitled 85-3-1
  • Untitled 74-6
  • Untitled 06-2-7
  • Untitled 05-12-7
  • Untitled 05-1-7
  • Untitled 80-9

2014 CHUNG Sang-hwa Solo exhibition
New Space,Dugahun Gallery

After Sang-Hwa Chung repeatedly employs the method of action consisting of “taking off/removing” and “re-painting,” small trace forms such as squares or triangles remain. This action of “formless” goes beyond the representation expression of pictorial dimension. That is, the subtle edges of the squares or triangles are created in the process of taking off the surface rather than painted directly onto the surface. They are subtle traces randomly generated in a series of “repeated” working processes as additional elements, and yet, at the same time, these vestiges are the clandestine essence of his oeuvre. Indubitably, Chung’s work deals with the awakening of the surface, or a reduction process toward the surface, through a logical and structural procedure. As much as the artist’s simple, repeated action is consistent, the colors on which he depends are quite limited, the main focus being given to the contrast of black and white; when blue and white are treated as gradation, dark brown tints are frequently visible. His recent work is characterized by blue hues; the tension in the contrast of black and white is replaced by the convergence of bright and transparent depth. There may be a compelling correspondence between the frequent use of blue color and blue sea, which he personally experienced, having been born in a harbor city and spending his adolescent years there. The artist most likely immersed himself in the sensibility and depth of blue color, which he directly observed. The shiny reflection on the surface of the water with sunlight overlaps on the surface of Chung’s work, which appears to create peaceful riffles. The artist cultivates his dreams while contemplating the blue sea and enduring the ages from a distance of time; he now looks back on the past of his traces as a form of meditation.

From [The Surface of the Canvas as a Form of Contemplation: Sang-Hwa Chung’s Oeuvre], Kwang Su Oh (Art Critic)

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