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Lot Essay
Cho Yong-Ik is one of the first generation Korean Dansaekhwa (Monochrome painting) artists and is among the contemporaries of Park Seo-Bo (B. 1931), Lee Ufan (B. 1936), Yun Hyong-Keun (1928-2007) and Chung Sang-Hwa (B. 1932). He is a key advocator of the Korean Informel abstract art movement, the first major art movement in the history of Korean modern art. There have been three significant series in Cho's oeuvre: the Scratch series (1974-1980), the Wave series (1980s) and the Bamboo series (mid 1990s to early 2000s). The present Work 78-514 (lot 522) is a fine example of the Scratch series.
His Scratch series started in 1974, when Cho's artistic style is concentrated on the exploration of geometric abstraction. In the present work, the canvas is covered by geometric patterns, reflecting an act of rejection through repetitive and monotonous strokes. This is an aesthetic approach in line with that of Chung Sang-Hwa and Park Seo-Bo. Cho once read about Silla ceramics and Joseon monochrome ceramics through books and was struck by their beauty. This experience later aspired him to create Dansaekhwa. In order to achieve on the canvas the translucent glaze effect of the Korean monochrome ceramics, Cho replaced oil paint with a more diluted acrylic paint, giving the surface a lucent glow. He would first apply a layer of base colour onto the canvas and use his hands or a scraper to carefully render dots and geometric motifs repeatedly in an orderly manner. Upon closer view, we can vaguely see the paint from the bottom layer, enriching the canvas with a soft and delicate texture, and more importantly, encapsulating the artist's quietude and abundant power of creation.
The neat and symbolic brushstrokes of the present work create a visual rhythm, as if composing a melody on the canvas. They tell of movement, celebrate the vigorous and palpitating life, and once again back to the fundamental state of presence. This is the artist's ballad saluting to the glory of life and force.
His Scratch series started in 1974, when Cho's artistic style is concentrated on the exploration of geometric abstraction. In the present work, the canvas is covered by geometric patterns, reflecting an act of rejection through repetitive and monotonous strokes. This is an aesthetic approach in line with that of Chung Sang-Hwa and Park Seo-Bo. Cho once read about Silla ceramics and Joseon monochrome ceramics through books and was struck by their beauty. This experience later aspired him to create Dansaekhwa. In order to achieve on the canvas the translucent glaze effect of the Korean monochrome ceramics, Cho replaced oil paint with a more diluted acrylic paint, giving the surface a lucent glow. He would first apply a layer of base colour onto the canvas and use his hands or a scraper to carefully render dots and geometric motifs repeatedly in an orderly manner. Upon closer view, we can vaguely see the paint from the bottom layer, enriching the canvas with a soft and delicate texture, and more importantly, encapsulating the artist's quietude and abundant power of creation.
The neat and symbolic brushstrokes of the present work create a visual rhythm, as if composing a melody on the canvas. They tell of movement, celebrate the vigorous and palpitating life, and once again back to the fundamental state of presence. This is the artist's ballad saluting to the glory of life and force.