Park Seo-bo | ڼ

õ ¾ ڼ(,1931- ) ȫʹ ȭ 1958 '' , '߰ſ ߻' Ҹ  Ȱϸ 츮 ̼踦 ̲ ߿ ιμ ߴ.

1961 ûȭ ĸȸ ڼ ڽ ߻ ǥ 繮ȭ ϴ () ø . ׸ 60 ߹ ° ⽺ () 70 ϸ ' ' Ҹ ()ô .

ڼ ʱ ĵ Ǵ û Ű ȷ ȭ鿡 Ǵ öʷ ȹ ݺ ׾  ̾. ׸ ̿ 浹 ȭ 尨 Ű ñ ǰ ݺǴ ߱ ڽ ȭ ڿ ̳ ִ.

80 ȭ ı ̷ ߱(Drawing) ۾ ̴ ̷. ߱ ȭ ȭӿ ݺǸ鼭 ڿ صǾ ׸Ⱑ üȭ 迡 ̸.

ڼ ȸȭ ȭ ǰ ̶ Ѿ ð Ե ȭ ģ Ŀ λ ϼ ٴٸٴ ȸȭ Ƴ ִ.
Spirit, As Revealed through the Hidden

Lee, Dong-Suk
Curator/Pusan Metropolitan Art Museum

At the end of the sixties Park Seo-bo while professing concepts like post image and post expression initiated his ecriture (or myo=drawing bop=method in Korean) period. Up until the present time, ecriture has passed through several transformations in its methodological notions. From the outside the artist, who stands at a fixed, central location, has made a successful effort to secure the status of his monochromatic surface paintings. Simultaneously, internally Park has offered a convincing rational in a universal language for the evolutionary process of ecriture. Finally during these years the artist has shared with the public several pithy epigrams that summarize the methodological principles and spiritual state of ecriture. These descriptive phrases include post image and post impression, purposeless activity, the anonymity of freedom from all distraction, the destruction of the self through self-oblivion and moral training, and the conquering of ki (ki=technique) by ki (ki=spirit).
Parks statement that ki (spirit) masters ki (technique) is also an expression of his belief that mannerism can be overcome through ascetic training. Yet, in another way, it is also an explanation of the predominant characteristic of monochrome painting. In other words, that technique and process are linked to the methodology and spirituality of a work. In Parks case also, the process of the work becomes a vital clue to inducing the intentions of the artist or the concept and spirituality of the work. Thus an analysis that connects process and form as well as methodology and spirit is a cogent way to approach an understanding of ecriture.
Early ecriture usually involved pencil drawings on a canvas painted with light gray oil paint, then these drawings were over painted with oil paints and then more pencil drawing was done on top of that-a process that was repeated indefinitely. Even at this stage the dualistic division between drawing and color had been resolved. In addition, matter and the physical body were used as a neutral intermediary between the act of painting and the canvas in establishing the sense of surface in the work.
In around 1982 Park Seo-bo moved to his later ecriture period, which involved the use of hanji (the term literally means Korean paper generally made of mulberry pulp) and water based paint. The formal characteristics of later ecriture encompassed the notion of concealment and revelation made by interrupted and multi-directional lines. It also included the idea of adapting the material nature of multiple strokes as a medium while at the same time the creation of an unlimited surface area. At this point the sympathetic activity between what the artist described as the nature of the object and the body became even closer and the relationship between each surpassed the level of response to approach a state of unity.
In Parks recent works we find the artist continuing to use the notion and methodologies of later ecriture, but he shows an even higher level of restraint and asceticism in his canvases. In contrast to the compression of texture and reduction in the weave, the surface characteristics of the vertical patterns and the repetition emphasize the severity of the work. Naturally the uniform use of the black tone suggests monastic austerity and piety. This effect is not simply the result of the color black, but the deep spirituality of a color that approaches the light and air absorbing qualities of a fathomless swamp. The artist has sublimated two extreme opposites and arrived at a path to a spiritual vision of moderation and moral discipline he has long sought.
Ecriture has transformed, in a way that no other artistic technique has, the characteristics of traditional hanji in a superb example of its adaptation into a modern grammar. Here the use of hanji does not stop with borrowing it as a material or a medium. Rather, the intent of the work is directly linked to the use of hanji while in a limited sense it is also connected to the spirituality the artist is striving for.
Hanji is highly permeable, absorbs liquids well and is an irregular medium. While it does have these passive qualities, it is also a medium that is suppler and allows for the possibilities of self-regulated creativity. The artist relies on the fact that the characteristic of hanji and his principles of creativity are in tune with each other creating a rhythm of inactivity. With the body as a tool and activity as a medium, this process of approaching the material is always in the act of being until it is stopped and the rest is left to a time of creativity to complete. The artists comment that paper makes itself speak is related to this concept. The self-regulating qualities of the medium are respected to their utmost and by relegating the traces of the hand to a dormant position, in a state of inaction, the approach of activity and object, the body and material is effected.
One of the most remarkable aspects of Park Seo-bos later ecriture is that stroke and line take the lead in the modality of revelation. A pencil does not leave marks on hanji which has soaked up water based paint. Instead, the repeated strokes of the pencil leave a furrow while the pressure of these strokes pushes on the hanji serving to elevate the lines. Through this latency comes manifestation and through concealment comes a revelation. The traces of the act became hidden as a base and on the surface of this base a natural raising impression is created, and at the same time, the aspects made by the lines would not be possible on any material except hanji. The creative process for these lines is not drawn, but instead something that has occurred naturally on the hanji itself, in a dramatic reversal of base and drawing. This effect can be compared to the act of plowing a furrow where the plowed earth forms ridge lines in effect producing a type of landscape which combines the artificial and natural.
The artist has compared this result to paintings of the calligraphic school. In other words, line and surface, or the Western division between drawing and painting has been resolved, base and gesture have been reversed, and by fostering unity in another dimension a unique sense of surface has been created.
In the physical activity of the artist, in other words in his inclusion of line, we find an explanation of the mean that crosses between the opacity of matter and the translucency of spiritual vision. In that process the semi- translucent and neutralized space that is revealed is a medium, serving both as a middle ground and place for discussion between natural and the artificial, the world and the self, and matter and concept.
Here in the ecriture canvases drawing by obliterating the traces of the act, reveals an invisible realm. The repetition of purposeless activity accumulates so the even the sense of time is compressed into the canvas and becomes latent. The realm of the invisible and supra time is exactly the world of anti-matter and speaks to a certain spiritual state. The mind is emptied, concepts are erased, and even the physical traces are concealed. By doing so the things that are even more clearly revealed are principles that govern our world and the depths of the spirit.
For a long time ecriture consistently sought the synergy between object and act. In this way matter and body, self and the world, reached the point of complete unity. The desire for moral training and a methodology based on the mean, led to the crossing of culminating point. Thus in the original meaning of the term, a return to natures spiritual realm.
(This essay originally appeared in the catalogue produced for the exhibition entitled Korean Monochromism: Methods, Ideas, and Spirit held at the Pusan Metropolitan Art Museum from December 11, 1998 to March 2, 1999)
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FNAC(Found National d'Art Contemporain),

1931 Born in Ye-Cheon, Gyeong-Buk, Korea

1954 Educated, Painting Dept. of Hong-Ik University, Seoul, Korea

2000 Honorary Doctoral Degree, Hong-Ik University, Seoul
1994 Founded Seo-Bo Art and Cultural Foundation, Seoul
Solo Exhibitions
2002 Gallery Hyundai, Seoul
Park Ryu Sook Gallery, Seoul
Remba Gallery, LA
Gallery Sejul, Seoul
Ci-Gong Gallery, Taegu
2000 Tokyo Gallery, Tokyo
Special Invited Exhibition: MANIF 6! 2000, Seoul Arts Center, Seoul
1999 Gallery Shilla, Taegu
Ci-Gong Gallery, Taegu
Jo Hyun Gallery, Pusan
1998 Tokyo Gallery, Tokyo
1997 Ace Gallery Los Angeles, LA
Remba Gallery, LA
Park Ryu Sook Gallery, Seoul
Gallery Hyundai, Seoul
Ci-Gong Gallery, Taegu
1996 BASEL ART FAIR(Park Ryu Sook Gallery, Messe Basel, Basel
FIAC 96(Jo Hyun Gallery) Espace Eiffel Branly, Paris
Jo Hyun Gallery, Pusan
Ci-Gong Gallery, Taegu
1994 Gallerie Bhak, Seoul
Remba Gallery, LA
Tokyo Gallery, Tokyo
1993 ART LA 93. The 8th International Contemporary Art Fair, Los Angeles Convention Center(Gallery World), LA
NICAF YOKOHAMA 93(Sun Gallery), Yokohama
1991 PARK, SEO-BOs Painting: Its Forty Years, The National Museum of Contemporary Art, Seoul
Duson Gallery, Seoul
Gallery World, Pusan
Gallery Kongkan, Pusan
1989 ART LA 89: The 4th International Contemporary Art Fair, Los Angeles Convention Center(Jean Art Gallery), LA
1988 Hyundai Gallery, Seoul
1987 Inkong Gallery, Seoul
1986 Tokyo Gallery, Tokyo
1985 Ina Gallery, Tokyo
1983 Space Gallery, Seoul
1981 Hyundai Gallery, Seoul
1978 Tokyo Gallery, Tokyo
Tong-In Gallery, Seoul
1973 Muramatsu Gallery, Tokyo
Myungdong Gallery, Seoul
1970 Seoul Gallery, Seoul
1962 National Central Library Gallery, Seoul