Spring, summer, autumn, winter – few things are very important in the way we put it to pass. An eternal title of regular conversation and creativity, this cycle replaces the exhibition of “Kim Chong Hak: Seoraksan diameter” in the Higher Atlanta Museum. In the face, it appears as a simple journey with a calendar, but less than a number of certain – Korea DANSAFEED and American Abstract Expression. By using the regular accounts while sorting it in a mixed style on an experienced foundation, hak shows what is said under what you say.
He was born in Korea, where he grew up and started his masterpiece. The number of years in the 1960’s meant in opposition and nationality in the postwar, the problems that formed the action known as DANSAAFA. This invisible, unseen practice, even though you do not fully represent the Hak influences, rules Korea’s paint at the time and provide an important context of his development.
DANDAHAKKE, often translated “Monochrome drawing,” is defined by physical involvement with material, easy-to-maneuvers and limits. Its influence is clearly appears in the winter works of Hak. No Completion (Winter) (2017) We show the forest defeated by its leaves, the soil. Only blank stems and branches remaining, keeping two birds built on the branch before. If you look first, the canvas looks almost every white, but the closer test produces a grays-from ashes to stock – restored. Multitated slabs painted built with a brush, giving the incident crowded. Go back and the world’s condition no longer seems but we are alive. What appears at the beginning of the quiet winter event is to meditate on the Dansa’s influence in the style of Hak.
In 1977, Hak moved to New York, where Neo-Splientists were like Julian Schnabel and Anselm Kiefer, along with the Abstractism. It is shown by Marking and Objects that cover Canvas Canvas to say “called All-Over Motion” -Lost Materials in Jackson Pollock and Franz Kline. Its impact is clear in Hak’s summer text. Green shades and stomach plants (1998) It presents a flow of flowers – sunflower, peonies, lilies – all moving up to the emerald ground to fill the area without stopping down. When we look at a green grass in its thick grass and the fullest hues, the uneasuroughliness or the symbol of the atmosphere flattering canvas into one plane, covering. Like No Completion (Winter)The real title is not a photo itself but Hak the painful Hak.
What is the most wonderful if these works are accessible. DANSAKKH’s Rigor’s collisions by leaving Abstracting Epcectism may have produced canvases, uncontrollable production. Instead, Hak arranges that competitors’ competitions promote the year of times. Although the stylistic influences are different, they do not; balanced and clear victory. The exhibition gives a football point: First, the comforting tendency to the season change, and secondly, the visual play of styles. One can view it as a fireplace than the year, but these works resisted. They are not the unusual of the world but something forcing.
“Kim Chong Hak: PEAND THE SEORAKSAN“He is at the High Museum of Arts in November 2, 2025.
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