Delicate systematic marks revealing a dual undertone; rhythmic yet ad hoc strokes whisking the painterly surface; fine wisps skirting the edges of the page. Each are elements composing the delicate, process-driven work of seminal Korean artist Cho Yong-Ik (b. 1934). Overall, Cho introduces an important angle to the discussion surrounding Dansaekhwa: he identifies as such an artist – his thoughts as well as techniques certainly associate him with this line of action heralding repetition, meditation, and tranquility – yet, he permitted for the insertion of colour. Rather than it distracting from the rubric’s emphasis on meditation, however, it seems to convey the possibility of multiple emotional states, from one of warmth to others of detachment. As such, Cho’s work probes us to consider the diverse formal languages of Dansaekhwa and fleshes out to a greater extent its associations with tactility, spirit and performance.

Biennale de Paris

Paris

Bucheon-si

Basel

Art Basel

Art Paris

Hong Kong

Kiang Malingue

Seoul

National Museum of Modern and Contemporary Art Seoul

Leeum Samsung Museum of Art

Cho Yong-Ik

Seoul National University

Work 86-0818