.jpg?w=1)
Lot Essay
Cho 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).
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. In Work 85-114 (Lot 489), the artist first applied a layer of base colour onto the canvas and use a scraper to carefully render wave-like motifs repeatedly in an orderly manner, challenging pictorial construction by one single colour.
significant series in Cho's oeuvre: the Scratch series (1974- 1980), the Wave series (1980s) and the Bamboo series (mid 1990s to early 2000s).
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. In Work 85-114 (Lot 489), the artist first applied a layer of base colour onto the canvas and use a scraper to carefully render wave-like motifs repeatedly in an orderly manner, challenging pictorial construction by one single colour.