Park Seo-Bo’s ‘Ecritures’
Are Evolving with the Times

Since the 1960s, Park Seo-Bo's meditative approach to painting has led him to be considered one of the most important artists in South Korea.

Known as the father of Dansaekhwa, meaning 'monochrome painting', Park Seo-Bo is best known for his 'Ecriture' series, which have transitioned from neutral hues to tactile and colourful canvases over the years. Kukje Gallery in Seoul captures these latest developments with an exhibition of works created between 2006 and 2017 (15 September–31 October 2021).

After studying painting at Hongik University during the Korean War, Park struggled with the purposelessness he found in art, as well as the goal of creating perceptible images.

He found that by repeatedly drawing lines onto canvas, painting over those lines and redrawing them, he could enter a meditative state—sought after in Buddhist and Taoist philosophy—that allowed him to 'control his extreme energies.'

In his earlier 'Ecriture' works, he used a pencil to repeatedly incise lines into still-wet painted canvases, akin to the act of writing. These distinctive works showcase the movement of his hand, giving deeper insight into the artist's attempt to clear his mind and connect to the process of painting.

In the 1990s, he used other tools, such as sticks and rulers, to create grooved textures and subtle variations, as well as more vibrant colours inspired by a visit to Fukushima in 2000.

He also began incorporating hanji, a form of traditional Korean paper made of the bark of the mulberry tree. By introducing this new material to his work, Park has allowed his series to transform and grow while remaining grounded in his 'quest for emptiness through reduction.'