PRESS

We are pleased to introduce the profound artistic legacy of Cho Yong Ik, a titan of Korean modern art whose work serves as a vital bridge across the history of Korean abstraction. A recent retrospective highlights his evolution from early figurative experimentation to the serene heights of Dansaekhwa (monochrome painting).

 

From Figurative Roots to the Informel Movement

Cho Yong-ik’s journey began in the late 1950s. His early works, such as the 1957 piece depicting a boy with an accordion, display a sophisticated understanding of cubist structures reminiscent of Picasso. During this period, his "Expressionist" techniques—characterized by raw, vigorous brushwork—earned him early acclaim in the National Art Exhibition. Soon after, he became a central figure in the Korean Informel movement, utilizing thick, textured knife marks to explore the primal origins of life and materiality.

 

The Rhythms of Deletion: Pointillism and Wave Patterns

In the 1970s, Cho’s style underwent a dramatic transformation. He began a meticulous process of "erasing" through dots—a technique akin to musical staccato. This rhythmic repetition evolved into the iconic wave patterns that defined his contribution to the Dansaekhwa era. For Cho, these repetitive gestures were not merely aesthetic; they were a way to deepen his philosophical contemplation through symbols and the physical act of painting.

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The Philosophy of "Self-Negation" and the "Mushim" Series

In his later years, Cho achieved a state of artistic transcendence known as Mushim (mindlessness). In this phase, he painted bamboo leaves with effortless, unadorned touches, reaching a meditative state of "Simui" (the depth of the mind).

Cho Yong-ik famously defined the core of modern art as "Self-Negation." He believed that by constantly erasing each moment of his past life and work, he could clear the path for the creation of a new existence. This philosophy of continuous renewal remains a cornerstone of Korean contemporary art.

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