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Havana Biennial 2019: Constructing the Possible Ocula Report Havana Biennial 2019: Constructing the Possible 17 Apr 2019 : Federica Bueti for Ocula

I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...

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Andrew Stahl and Guo Xiaohui Ocula Conversation Andrew Stahl and Guo Xiaohui

The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...

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The National 2019: New Australian Art Ocula Report The National 2019: New Australian Art 13 Apr 2019 : Elyse Goldfinch for Ocula

The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...

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Chung Sang-hwa

b. 1932, South Korea

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).

Featured Artworks

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Untitled 017-2-6 by Chung Sang-hwa contemporary artwork Chung Sang-hwaUntitled 017-2-6, 2017 Acrylic and kaolin on canvas
162.2 x 130.3 cm
Blum & Poe
Untitled by Chung Sang-hwa contemporary artwork Chung Sang-hwaUntitled, 2018 Frottage on Korean paper
160 x 111.4 x 3.8 cm (incl frame)
Blum & Poe
Work 69-A-6 by Chung Sang-hwa contemporary artwork Chung Sang-hwaWork 69-A-6, 1969 Acrylic on canvas
163.2 x 131.8 x 4.1 cm (incl frame)
Blum & Poe
Untitled 72-10 by Chung Sang-hwa contemporary artwork Chung Sang-hwaUntitled 72-10, 1972 Acrylic on jute
117.5 x 74.6 x 4.4 cm (incl frame)
Blum & Poe
Untitled 76-7 by Chung Sang-hwa contemporary artwork Chung Sang-hwaUntitled 76-7, 1976 Acrylic on canvas
65 x 53 cm
Tina Kim Gallery
90-3-4 by Chung Sang-hwa contemporary artwork Chung Sang-hwa90-3-4, 1990 Acrylic on canvas
162 x 130 cm
Tina Kim Gallery
Untitled 88-7-28 by Chung Sang-hwa contemporary artwork Chung Sang-hwaUntitled 88-7-28, 1988 Acrylic on canvas
130 x 162 cm
Tina Kim Gallery
Untitled 96-12-5 by Chung Sang-hwa contemporary artwork Chung Sang-hwaUntitled 96-12-5, 1996 Acrylic on canvas
150 x 250 cm
Tina Kim Gallery

Recent Exhibitions

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Contemporary art exhibition, Chung Sang-hwa, Shin Sung-hy, Chung Sang-hwa & Shin Sung-hy at Blum & Poe, Los Angeles
Closed
3 November 2018–12 January 2019 Chung Sang-hwa, Shin Sung-hy Chung Sang-hwa & Shin Sung-hy Blum & Poe, Los Angeles

Represented By

In Ocula Magazine

Top 5 booths at Art Busan 2016 Ocula Report Top 5 booths at Art Busan 2016 31 May 2016 : Angela Suh for Ocula

Located a stones throw from the famed Haeundae Beach, popularised in Korean cinema and countless K-dramas, Art Busan 2016 conveyed a leisurely air brought on by the first warm days of spring. Now in its fifth edition, the fair has grown into a sizeable event showcasing some of the best works in the region. With over 190 participating galleries...

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Beyond Influence: The Legacy Of Korean Monochrome Painting Ocula Report Beyond Influence: The Legacy Of Korean Monochrome Painting 14 Oct 2014 : Stephanie Bailey for Ocula

“One thing to remember about Tansaekhwa is that it was never an official movement," Joan Kee, Associate Professor of Art History at the University of Michigan at Ann Arbor, explains in an email interview. "There was no manifesto, no declaration—not even a series of exhibitions consciously organized under that...

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In Related Press

View All (6)
Monochrome and minimalism: 6 Dansaekhwa artists in New York Related Press Monochrome and minimalism: 6 Dansaekhwa artists in New York Art Radar : 23 May 2016

Dansaekhwa, or Korean monochrome art, is characterised by painting in a single colour, textured and with simplified images. Featured as a collateral event of the 56th Venice Biennale (2015), the art form has also generated interest in the western world through recent exhibitions such as From All Sides: Tansaekhwa on Abstraction (Blum & Poe, Los...

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Dansaekhwa and Korean Abstraction at Boghossian Foundation in Brussels Related Press Dansaekhwa and Korean Abstraction at Boghossian Foundation in Brussels Blouin Artinfo : 21 February 2016

Opening at the Boghossian Foundation’s Villa Empain in Brussels this weekend is When Process Becomes Form: Dansaekhwa and Korean Abstraction, the first exhaustive exhibition of the Korean Dansaekhwa movement in Belgium, featuring some fifty works by seven of its leading proponents: Chung Chang-Sup, Chung Sang-Hwa, Ha Chong-Hyun, Kim Whanki,...

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'When Process Becomes Form: Dansaekhwa and Korean Abstraction' Related Press 'When Process Becomes Form: Dansaekhwa and Korean Abstraction' Courtesy Tina Kim Gallery : 10 February 2016

When Process Becomes Form is the first comprehensive presentation in Belgium of a number of seminal works by a generation of Korean artists whose negotiation of abstraction has become known as Dansaekhwa.The exhibition consists of some 50 paintings and works of paper drawn from the 1970s and the 1980s, along with a substantial array of archival...

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 The rise of Dansaekhwa Related Press The rise of Dansaekhwa MutualArt : 21 January 2016

Dansaekhwa and Minimalism, which opened January 16 at Blum & Poe in Los Angeles, is the latest in a series of exhibitions and publications devoted to the Korean monochrome painting movement sweeping the globe of late. While Dansaekhwa (also spelled “Tansaekhwa”) emerged somewhat concurrently with American Minimalism, this is the...

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