Two years after the death of Park Seo-bo, one of Korea's most influential abstract artists and a master of the Dansaekhwa movement, two comprehensive books have been published simultaneously in English and Korean. These publications offer unprecedented insights into both Park's groundbreaking artistic career and his previously little-known personal life as a devoted father and husband.
The graphic novel "Park Seo-bo" and the biography "In the Words of Park Seo-bo" have been released as a coordinated set by Skira, a leading international art publisher, in collaboration with the Park Seo-bo Foundation. Together, these books provide a complete portrait of the master artist, exploring not only his revolutionary contributions to Korean contemporary art but also revealing intimate aspects of his character and relationships that were rarely discussed publicly during his lifetime.
"In the Words of Park Seo-bo" is particularly unique as it draws directly from manuscripts written by the late artist himself, meticulously tracing his artistic development and personal journey from his early years until the 1980s. The book has been carefully edited by Park Seung-ho, the artist's son, who currently serves as the head of the Park Seo-bo Foundation. The biography opens with a compelling first chapter titled "I am Ninety," which focuses on the large-scale retrospective exhibition "The Untiring Endeavorer" held at the National Museum of Modern and Contemporary Art, Korea in 2019.
In one particularly revealing passage, Park reflects on public perceptions of his personality, writing: "Before you met me, you may have heard rumors that I am like the Horned Goblin. Well, I shaved off (the horns) this morning." This quote captures what the artist said at the press conference for his retrospective opening, demonstrating his awareness of how others viewed him as eccentric. He continued, "I took off my fedora and patted myself on the head, a friendly gesture. The atmosphere relaxed a bit," showing his deliberate efforts to connect with people despite his reputation.
The artist also addresses his controversial reputation head-on in the book, acknowledging: "It is true that in 1956, my Ban-Kukjeon Manifesto signaled the beginning of the Contemporary Art Movement in Korea, and that around that time I took part in uncommon events like goblins would. However, those who labeled me with that nickname were people who fiercely defended their vested interests in the National Art Exhibition, or Kukjeon." This passage provides crucial context for understanding the artistic and political tensions that surrounded Park's revolutionary work in challenging Korea's traditional art establishment.
The companion graphic novel "Park Seo-bo" takes a different but complementary approach, created by Choi Jin-ho, an acclaimed storyteller and graphic novel artist specializing in science communication. This illustrated biography recreates Park's entire life journey from his childhood through his final moments in 2023, presenting what the publisher describes as "a panorama of a human life." The graphic novel effectively demonstrates Park's deep fascination with the colors of nature and illustrates how this connection to the natural world fundamentally inspired and shaped his artistic vision throughout his career.
The graphic novel pays special attention to pivotal moments in Park's personal and professional development, including his enrollment at Hongik University in 1950, just before the outbreak of the Korean War. Significantly, the book also chronicles how he met his lifelong partner and unwavering supporter, Yoon Myung-sook, who was also an art student at Hongik University. Their relationship is portrayed as central to Park's artistic success and personal happiness, revealing a more intimate side of the artist that few people knew.
In one of the most poignant sequences, the graphic novel concludes with scenes depicting the artist's final moments at the hospital in 2023. Even as he was approaching death, Park's dedication to his art remained absolute. The book shows him calling his studio with his wife's assistance, saying: "I need to work the moment I arrive. Prep the canvas." This powerful ending encapsulates the artist's lifelong commitment to his craft and his inability to separate his identity from his artistic practice.
Throughout his career and continuing after his death, Park Seo-bo has remained a somewhat controversial figure in Korean art circles, with opinions about his work and personality often sharply divided. However, these new publications aim to present a more complete and nuanced understanding of the man behind the revolutionary art. As Park Seung-ho noted in a press release announcing the publication of both books, the goal is to help readers "discover the side of him that may have been missed." He emphasized that "seen as a whole rather than in fragments, a person cannot be blindly adored or indiscriminately despised – a realization that underscores the very reason for this book's existence." These comprehensive works promise to reshape how both art historians and the general public understand one of Korea's most significant contemporary artists.
