Provided by Johyun Gallery
Johyun Gallery will present works by Park Seo-Bo, Chung Chang-Sup, Lee Bae, Kishio Suga, Kim Chong Hak, and Claude Viallat at BOOTH E11 of Frieze Masters 2023, held at Regent's Park, London from October 11 to 15.
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| ▲ Park Seo-Bo, Écriture No. 941130, 1994, Mixed Media with Korean Hanji Paper on Canvas, 41 x 32 cm, USD $110,000, Provided by Johyun Gallery |
Park Seo-Bo is a significant figure in Korean contemporary art, recognized as one of the founding members of the Dansaekhwa movement that emerged in post-war Korea during the early 1970s. The movement has gained international acclaim for its contributions to the art world. Park's artistic journey began in the late 1960s with the initiation of the 'Ecriture' series, characterized by repetitive pencil lines over wet monochromatic painted surfaces. Over time, he expanded this artistic language by incorporating hanji (traditional Korean paper) and introducing color. His artistic process involves repetitive actions such as pasting, scraping, scratching, and rubbing, striking a delicate balance between drawing and painting. The primary objective of this approach is to seek a sense of emptiness through reduction.
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| ▲ Chung Chang-Sup, Tak - No.86029, 1986, Best Fiber Cotton, 65 x 82 cm, USD $66,000, Provided by Johyun Gallery |
Chung Chang-Sup, a prominent figure in the first generation of post-war Korean contemporary art, dedicated his artistic exploration to imbuing Korean art with beauty and identity by embracing abstractness and utilizing Hanji paper. Beginning with the 'Informel' art movement and progressing into the 'Monochrome' movement, he consistently integrated Hanji paper into his artistic process. Chung's artworks echo Korean tradition while establishing a unique artistic domain, bridging diverse elements such as traditional and modern, East and West, and intangible and tangible aspects. His art, characterized by shapeless frames and hues of yellow, black, and adzuki bean gruel, evokes a profound sense of the passage of time, captivating viewers in a realm of tranquility. The development of his Korean traditional mulberry paper work began with the 'Return' series in the 1970s, evolving into the 'Tak' series in the 1980s, marked by tapping and shaping soaked mulberry paper onto a canvas. This progress continued into the 1990s with the 'Meditation' series, representing a significant evolution in his artistic journey.
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| ▲ Lee Bae, Issu du feu-2T, 1999, Charcoal on Canvas, 210 x 120 cm, USD $207,000, Provided by Johyun Gallery |
Lee Bae, based in Seoul and Paris, has devoted nearly three decades to exploring the expressive potential of charcoal as an artistic medium. Focusing on Korean painting, he employs charcoal and abstract forms to create self-sufficient artworks rich in spiritual and energetic qualities. Lee delves into the intrinsic properties of charcoal, embodying immanent concepts such as yielding, respiring, and circulation. His work encapsulates themes of life and death, absence and presence, light and shadow, form, and emptiness. His artistic portfolio includes a wide array of mediums and forms, ranging from drawings to canvas-based works and installations.
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| ▲ Kishio Suga, Connected Peripheries, 2010, Wood, Acrylic, 201 x diam. 35 cm, USD $50,000, Provided by Johyun Gallery |
Kishio Suga, a prominent figure in Japanese contemporary art and a representative of the Mono-ha movement, has significantly influenced the modern art landscape through his distinctive sculptural style and object representation. Using natural elements such as wood, stone, and iron, his pieces intricately investigate the dynamic relationship between space and materials. Suga's artworks invite viewers to engage in an interactive and immersive artistic experience, adding a unique dimension to the realm of contemporary art.
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| ▲ Kim Chong Hak, Untitled, 2009, Acrylic on Canvas, 486.6 x 130.3 x 2.5 cm, USD $550,000, Provided by Johyun Gallery |
Kim Chong Hak, often referred to as the "Flower’s Painter," is known for his art that embraces an unbounded approach, devoid of specific objects or formal styles. His thematic focus lies in capturing the inherent beauty of nature. Kim finds joy and inspiration in observing various elements of nature such as creeping things, birds, and wildflowers. This direct encounter with nature fuels his creativity, allowing him to internalize their essence before translating it onto the canvas in his studio. His artistic process involves reimagining and reinterpretation, a result of his deep affection and appreciation for nature, manifesting as abstraction on canvas.
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| ▲ Claude Viallat, 1981/038, 1981, Acrylic on Curtain with Brown Woven Fabric Rings, 260 x 120 cm, EUR € 68,000, Provided by Johyun Gallery |
Claude Viallat, born in 1936 in Nîmes and currently residing and working there, underwent artistic education at the École des Beaux-Arts in Montpellier from 1955 to 1959. Later, he pursued further studies in Raymond LeGault’s studio at the Beaux-Arts in Paris during 1962-63. Viallat is renowned for his significant role as a founding member and influential figure of the Support/Surface movement in France, alongside artists like Daniel Dezeuze. In his artistic exploration, Viallat delved into the physical and structural dimensions of painting. He initiated a unique approach by working on industrial tarpaulins devoid of stretchers, adorning them with a repeated abstract shape. Utilizing a stencil, Viallat reproduced this shape in an array of colors and on diverse surfaces such as upholstery fabrics, rugs, and recycled materials. This methodology effectively eliminated the traditional notion of a "subject" within the artwork. Through his innovative techniques, Viallat ventured into unraveling the essence of the creative gesture and contemplated the intrinsic status of the work of art.
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