Born in 1941 in Yongcheon, South Korea

Died in 1990 , South Korea

LEE Seung-Jio

education

1984
- MFA, Hongik University, Seoul, Korea

1965
- Graduated from Department of Painting of Hongik University, Seoul, Korea

solo shows

2017
- Perrotin, Hong Kong (upcoming)

2010
- "Back to Black", Wellside Gallery, Seoul, Korea

2000
- Busan Museum of Art, Busan, Korea

1996
- Total Museum of Contemporary Art, Seoul, Korea
- Gallery Hyundai, Seoul, Korea

1991
- Hoam Gallery, Seoul, Korea

1987
- Duson Gallery, Seoul, Korea

1984
- Mee Gallery, Seoul, Korea

1980
- Kwanhoon Gallery, Seoul, Korea

1978
- Hankook Gallery, Seoul, Korea

1976
- Myungdong Gallery, Seoul, Korea

1973
- Shinsegae Gallery, Seoul, Korea





group shows

2016
- "Origin", Perrotin, Paris, France
- "After Drawing", Gallery Hyundai, Seoul, Korea
- "As the Moon Waxes and Wanes", MMCA Gwacheon, 30 Years, Gwacheon, Korea
- "Dansaekhwa: The Traces of Four Artists", Curated by Yoon Jin Sup, LA Art Show, Los Angeles Convention Center, Los Angeles, U.S.A.

2015
- "Beyond Materiality, Pursuing the Realm of Vacancy - Eye and Mind of Korean Contemporary Art", Gana Art Center, Seoul, Korea
- "Empty Fullness: Materiality and Spirituality in Contemporary Korea Art", Centro Cultural Recoleta, Buenos Aires, Argentina
- "Commemorative Exhibition of the 70th Anniversary of Liberation: The Great Journey with the Citizen-Uproarious, Heated, Inundated", National Museum of Modern and Contemporary Art, Seoul, Korea

2014
- "Color", Aram Art Museum, Gyeonggi-do, Korea
- "Empty Fullness: Materiality and spirituality in contemporary Korean Art", SPSI Museum, Shanghai, China

2012
- "Dansaekhwa – Korean Monochrome painting", National Museum of Contemporary Art, Gwacheon, Korea

2011
- "Qi is full", Daegu Art Museum, Daegu, Korea

2010
- "The Color of Nature, Monochrome Art in Korea: Collections from the Busan Museum of Art", Taipei Fine Arts Museum (TFAM), Taipei, Taiwan
- "Geometrical Illusion: Homage to Lee Seung Jio", Ilju & Seonhwa Gallery, Seoul, Korea

2009
- "The Color of Nature – Monochrome Art in Korea", Wellside Gallery, Shanghai, China

2008
- "Artists, What is Science for You?", KAIST, Daejeon, Korea
- "The Color of Nature: Monochrome Art in Korea", Roh Gallery, Seoul, Korea

2007
- "Korean Abstract Painting 1958-2008", Seoul Museum of Art, Seoul, Korea

2006
- "Reduction and Expansion of Contemporary Art – ORIGIN Painting Association 1962-2006", Seoul Art Center, Hangaram Museum, Seoul, Korea

2005
- "The Root of Honam Abstract Painting", Woojaegil Art Museum, Gwangju, Korea

2004
- "Monochrome Paintings of Korea, Past and Present", Seoul Museum of Art, Seoul, Korea

2003
- "Dynamics of Expansion and Reduction", KEPCO Art Center, Seoul, Korea

2002
- "Painting & Drawing", Batangol Art Center, Gyeonggi-do, Korea
- "Age of Philosophy and Aesthetics", National Museum of Contemporary Art, Seoul, Korea
- "Understanding of Abstract Art", Sungkok Museum, Seoul, Korea

2001
- "Korea Contemporary Art from mid-1960’s to mid – 1970’s : A Decade of Transition and Dynamics", National Museum of Contemporary Art, Korea
- "Artists of Die at an Early Age and Destiny", Gana Art Center, Seoul, Korea
- "Landscape Exhibition", Gallery M, Daegu, Korea
- "A Treasure Island called Contemporary Art", Batangol Art Center, Geyonggi-do, Korea

1999
- "The Exhibition of “ORIGIN – 2000 – Good Morning”, Seoul Museum of Art, Seoul, Korea

1996
- "Korean Monochrome in the 1970’s", Gallery Hyundai, Seoul, Korea

1993
- "Korean Contemporary Art: The Generation of Fury & Challenge", Total Museum of Contemporary Art, Seoul, Korea

1992
- "The 17th Ecole de Seoul: Special Exhibition of Lee Seung-Jio", Kwanhoon Gallery, Seoul, Korea

1991
- "A Grouping for the Identity of Contemporary Korean Art – The Period of Reduction and Conversion", Hanwon Gallery, Seoul, Korea
- "A Grouping for the Identity of Contemporary Korean Art Ⅲ – The Period of Disagreement and Confrontation", Hanwon Gallery, Seoul, Korea

1989
- "Korean Contemporary Art – A Situation of the 80’s", Dongsung Art Center, Seoul, Korea
- "The 14th Ecole de Seoul", Kwanhoon Gallery, Seoul, Korea
- "Commemoration of Kwanhoon Gallery's 10th Anniversary: 89 Artists Exhibition", Kwanhoon Gallery, Seoul, Korea
- "The 15th Seoul Art Festival: Organizing Committee, 5 Artists Exhibition", Hilton Museum, Seoul, Korea

1988
- "Opening Commemorative Exhibition of the Chosun Ilbo Gallery", Chosun Ilbo Gallery, Seoul, Korea
- "Korean Contemporary Art: Commemorative Exhibition of the 24th Seoul Olympics", Seoul, Korea
- "'88 Seoul Art Exhibition", National Museum of Contemporary Art, Seoul, Korea
- "Korean Contemporary Art's Today", (Total Museum of Contemporary Art, Seoul, Korea
- "The 14th Seoul Contemporary Arts Festival: Commemorative Exhibition of the 70th Anniversary of Lee Kyong-Sung's Birth", Hoam Gallery, Seoul, Korea

1987
- "Black & White in Korean Art Today", National Museum of Contemporary Art, Seoul, Korea
- "Invitational Exhibition of 4 Artists", Hilton Gallery, Seoul, Korea
- "'87 Seoul Art Exhibition", Seoul Municipal Museum of Contemporary Art, Seoul, Korea
- "Invitational Exhibition of '87 Contemporary Art", National Museum of Contemporary Art, Seoul, Korea
- "The 6th National Art Exhibition: Invitational & Judge", National Museum of Contemporary Art, Seoul, Korea
- "'87 Exhibition of Miniature Works", Gallery Soo, Seoul, Korea
- "Exhibition of 13 Men's Message", Baiksong Gallery, Seoul, Korea

1986
- "'86 Seoul Art Exhibition", Seoul, Korea
- "Today's Art Inspection", Baiksong Gallery, Seoul, Korea
- "Post-Abstraction of 9 Artists Exhibition", Batangol Arts Center, Seoul, Korea
- "'86 National Art Exhibition", National Museum of Contemporary Art, Seoul, Korea
- "Korean Art Today", National Museum of Contemporary Art, Seoul, Korea

1985
- "Contemporary Art Festival", National Museum of Contemporary Art, Seoul, Korea
- "Minimization and Maximization", Hu & Jeon Gallery, Seoul, Korea
- "The 11th Seoul Contemporary Arts Festival", Seoul, Korea
- "'85 Seoul Art Exhibition", Seoul, Korea

1984
- "Exhibition of Human Documents ’84 /’ 85", Tokyo Gallery, Tokyo, Japan
- "Invitational Exhibition of '84 Contemporary Arts", National Museum of Contemporary Art, Seoul, Korea
- "The Invited Exhibition of 60’s Korean Contemporary Art – Informal & That’s Side", Presented by Walker Hill Museum, Seoul, Korea
- "Seoul Paper Works, ’84", Kwanhoon Gallery, Seoul, Korea
- "International Drawing Grand Exhibition", Seoul International Arts Center, Fine Art Center, Seoul, Korea
- "The 10th Seoul Contemporary Arts Festival", Seoul, Korea

1983
- "The Invited Exhibition of Contemporary Art", National Museum of Modern Art, Seoul, Korea

1982-1983
- "Contemporary Plasticity of Paper in Korea & Japan", National Museum of Contemporary Art, Seoul, Korea; Kyoto Municipal Museum of Art, Kyoto, Japan

1982
- "Commemorative Exhibition of the Opening", Total Museum of Contemporary Art, Seoul, Korea
- "Seoul International Mail Art Exhibition", Kwanhoon Gallery, Seoul, Korea
- "Invitational Exhibition of '82 Contemporary Arts", National Museum of Contemporary Art, Seoul, Korea
- "Contemporary Artists' Drawings & Prints", Kwanhoon Gallery, Myungdong Gallery, Songwon Gallery, Seoul, Korea

1981
- "'Situation of Today' Part Ⅰ Structure = Plane Surface", Kwanhoon Gallery, Seoul, Korea
- "Men's Works Exhibition", Kwanhoon Gallery, Seoul, Korea
- "Invitational Exhibition of Contemporary Artists", Haemok Gallery, Mokpo, Korea
- "The 30th Korean National Art Exhibition: Invitational & Judge", - "Invitational Exhibition of '84 Contemporary Arts", National Museum of Contemporary Art, Seoul, Korea

1980
- "Korean Print & Drawing Grand Exhibiton", National Museum of Contemporary Art, Seoul, Korea
- "Invitational Exhibition of 36 Contemporary Artists: Korea Contemporary Art Union", Kwanhoon Gallery, Seoul, Korea
- "Exhibition of 62 Contemporary Artists", Dongbang Gallery, Busan, Korea
- "Exhibition of Korean Contemporary Art", Myungsung Country Club, Seoul, Korea
- Invitational Exhibition of Hong-Ik Contemporary Art, Hong-Ik University Museum, Seoul, Korea
- "The 29th Korean National Art Exhibition: Invitational & Judge", National Museum of Contemporary Art, Seoul, Korea

1979
- "Invitational Exhibition of 14 Korean Contemporary Artists", Elcanto Gallery, Seoul, Korea
- The 11th Cagnes-Sur-Mer International Painting Festival, Cagnes, France
- "Korean Fine Art: Method of Today's Exhibition", Fine Art Center, Seoul, Korea
- "Work on Paper", Jin Gallery, Seoul, Korea

1978
- "Work on Paper", Kyunji Gallery, Seoul, Korea
- "Korea : The Trend for the Past 20 years of Contemporary Art", National Museum of Modern Art, Seoul, Korea

1977-1980
- Korean Fine Arts Association, Grand Exhibition of Paintings, National Museum of Contemporary Art, Seoul, Korea

1977
- "Korean Contemporary Paintings", National Museum of History, Taipei, Taiwan
- "Fact of Korean Contemporary Art", Tokyo Central Museum of Art, Tokyo, Japan
- The 14th Biennal de São Paulo, São Paulo, Brazil

1975-1984
- "Seoul Contemporary Art Festival", National Museum of Contemporary Art, Seoul, Korea
- "Gwangju Contemporary Art Festival", Gwangju, Korea
- "Busan Contemporary Art Festival", Busan, Korea
- "Kangwon Contemporary Art Festival", Chuncheon, Korea
- "Grand Exhibition of Korean Contemporary Painting", National Museum of Contemporary Art, Seoul, Korea

1975
- "Space Grand-Prix Exhibition", Space-Group, Seoul, Korea
- The 7th Cagnes-Sur-Mer International Painting Festival, Cagnes, France

1974-1982
- "Ecole de Seoul", National Museum of Contemporary Art, Seoul, Korea
- "Daegu Contemporary Art Festival", Daegu, Korea

1974
- Invitational Exhibition in Commemoration of the Opening of Fine Art Center", Korean Culture & Arts Foundation, Seoul, Korea

1973
- "Exhibition of Korean Contemporary Art 1957-1972: Plastique & Antiplastique”, Myungdong Gallery, Seoul, Korea
- "Invitational Exhibition of Prints", Arts Center, Seoul, Korea
- "Exhibition of 100 Modern Painters in Korea", National Museum of Contemporary Art, Seoul, Korea
- "4 Men's Exhibition", Myungdong Gallery, Seoul, Korea
- Exhibition of Selected 6 Korean Young Artists, Seoul, Korea; Tokiwa Gallery, Tokyo, Japan
- 13 Artists of Contemporary Art, Organized by Signum Gallery, Tokyo, Japan

1972-1978
- "Independents", National Museum of Contemporary Art, Seoul, Korea

1971
- "A.G. (Avant-Garde) Group Exhibition: Reality & Realization, National Museum of Contemporary Art, Seoul, Korea
- "A.G. (Avant-Garde) Group Print Exhibition", Korean Information Center, Seoul, Korea
- "Painting Today's Korea", Myungdong Gallery, Seoul, Korea
- "Interchange Exhibition of Seoul & Busan Artists", Busan, Korea
- "The 6th Cagnes International Painting Festival", Cagnes Sur-mer, France
- The 11th Biennal de São Paulo, São Paulo, Brazil

1970-72
- "Korea Avant-Garde Group Show ”The Mechanics of Phenomenon Restoration” ",National Museum of Modern Art, Seoul, Korea

1970
- "The 1st Korean Art Grandprix Exhibition", Hankook Press, Seoul, Korea
- "A.G. (Avant-Garde) Group Print Exhibition: Mechanics of Conversion and Reduction", Korean Information Center, Seoul, Korea

1968-69
- "The Invited Exhibition of Contemporary Artists", Chosun Ilbo, Seoul, Korea

1968
- "The Invited Exhibition of Contemporary Artists", Ministry of Information and Culture, Seoul, Korea

1967
- "Union Exhibition of Korean Young Artists", Korean Information Center, Seoul, Korea

1963-1970
- "Exhibition of the ORIGIN Painting Association", Seoul, Korea

public collection

- National Museum of Contemporary Art, Seoul, Korea
- Walker-Hill Art Museum, Seoul, Korea
- Deutsche Bank, Seoul, Korea
- Total Museum of Contemporary Art, Seoul, Korea
- Hoam Museum, Seoul, Korea
- Hong-Ik University Museum, Seoul, Korea
- Seoul Museum of Art, Seoul, Korea
- Hansol Group Co. Seoul, Korea
- Seoul Women's College of Nursing, Seoul, Korea

awards

1986     
- Asian Contemporary Art Festival (National Museum of Contemporary Art, Seoul, Korea)

1984     
- Trend of the 70s Korean Contemporary Arts Exhibition (Taipei City Museum of Fine Art, Taipei, China)

1983     
- Korean Contemporary Art Exhibition – An Aspect of the Latter Part of the 70’s (Tokyo, Utsunomiya, Osaka, Sapporo, Fukuoka, Japan)

1982     
- Aspect of Korean Contemporary Art Exhibition (Kyoto Municipal Museum of Art, Japan)

1980     
- The 6th Invitational Korean Art Grand-Prix Exhibition, Seoul, Korea (Award Grand-Prix, Held by Hankook Ilbo, National Museum of Contemporary Art, Seoul, Korea)
- Festival: Contemporary Asian Art Show, 1980 (Fukuoka, Japan)

1979     
- Korean Commissioner at 11th Cagnes-Sur-Mer International Painting Festival (Cagnes, France)

1977     
- Fact of Korean Contemporary Art (Held by Tokyo Central Museum of Art, Tokyo, Japan)
- Korean Contemporary Paintings (Held by National Museum of History, Taipei, China)
- The 14th Biennal de São Paulo, São Paulo, Brazil

1975     
- The 7th Cagnes-Sur-Mer International Painting Festival, Cagnes, France (Award National Prize, Cagnes, France)

1973     
- Exhibition of Selected 6 Korean Young Artists (Organized by Tokiwa Gallery, Tokyo, Japan), Seoul, Korea
- 13 Artists of Contemporary Art (Organized by Signum Gallery, Japan)

1971     
- The 11th Biennal de São Paulo, São Paulo, Brazil

1968-71 
- The 17th, 18th, 19th and 20th Korean National Art Exhibition, Seoul, Korea (Special Prize at 17th, 18th, 19th and 20th; Prize of Minister of Culture & Information at 17th and 19th; Held by Ministry of Culture & Information, Seoul, Korea)

1968     
- The 1st Dong-A International Fine Art Exhibition (Grand-Prix), Busan International Exhibitions, Busan, Korea

  • July 2017
    Sing Pao Daily — 1 PAGE

  • May 2017
    Collection Auction — 10 PAGES

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    JoongAng Daily — 3 PAGES

  • May 2017
    News 1 — 2 PAGES

Following the Grain of Mind

by SEO Seong-Rok (Art Critic)

The current exhibition entitled ORIGIN organized at Galerie Perrotin, Paris, meaningfully traces back the footprints of Origin, a group founded in 1962 by a few elite artists comprised of graduates of the painting department at Hongik University, a prestigious private school in Korea. Origin has continued its development for over fifty years, which is exceptional for an art group, and has contributed in refreshing and broadening the boundaries of abstract art. Artists participating in this exhibition are the original founding members of Origin; CHOI Myoung-Young, SUH Seung-Won, and LEE Seung-Jio. These artists are prominent members who exude distinct individuality while consistently exploring abstract art.

The artists participating in this exhibition were born in the early 1940s and are live witnesses of the Japanese occupation, the Korean War, and the 4.19.1960 Revolution. Political turmoil such as the dark period of Japanese occupation, the Korean War, and the separation of families have all left deeply etched scars and unforgettable pain to Koreans. Therefore it is appropriate to examine the position of these artists within this historical context. In the early 1960s when Origin was founded, the Korean art world was divided into three groups. The first group was academism imported from Japan that focused mainly in imitation and reproduction, the second group was ‘hot abstract’ that transferred the sublime pains of the Korean War into paintings, and the third group was ‘intelligent painting’ that reflected the new social ambience following the 4.19.1960 Revolution. These three groups are all closely tied with Korean historical events, especially the second and the third groups that were founded by the graduates of art schools established after the national foundation of The Republic of Korea in 1948. Accordingly, these two art groups symbolize the beginning of Korean contemporary art and are therefore critical markers in the history of Korean Art.

There is approximately ten years gap between the second and third groups and their concepts are also quite distinct. It is worthy to note, while the former expresses the pains and ravages of war, the latter intends to calmly reconsider “the origins of painting” in a whirlpool of changes with a rather constructive vision of the world. “The artists of Origin aggressively confront hyper-emotion of the hot abstract which swept Korean avant-garde art. Their works might be viewed as aristocratic but they insist the canvas as a medium, and master the flatness of painting with moderation and control.” (LEE Yil “Vibrant Young Art”, 1967)

If one counter-questions whether “simultaneous intelligent and sensuous” art truly existed, we can find its precedent in the works of Origin artists, especially those who are included in this exhibition. CHOI Myoung-Young, SUH Seung-Won, and LEE Seung-Jioare representative artists who reflect on the flow of this period. Their work became more apparent around the time of Exhibition of Korea Young Art Combined held in 1967. At the time, CHOI Myoung-Young attempted abstract works that labor over the fundamental issues of painting, SUH Seung-Won experimented with restricted space arrangement using triangular shapes and colored sticks, and LEE Seung-Jio tested geometric abstraction through the use of repeated cylindrical structures. With respect to such trend, art critic OH Kwang-Su raised awareness of the “new realization of objective painting”.

“Geometric abstraction demonstrated by Origin is rooted in an explicitly logical reasoning and therefore has an intellectual component. It also means that the cold abstract can be considered the opposite of the hot abstract. In any instance, cold abstract first and foremost focused on the recognition of the canvas which maintained a sense of objectivity and indifference.” (OH Kwang-Su, “Chilled Fever, Chaos and Meditation”, 1979). Consecutive emergence of different art groups throughout the early and mid 1970s became a trigger for broadening experimentation in sculpture, installation, and performance. Still, the most prominent movement of the 1970s was decidedly Dansaekhwa (monochromatic painting). Dansaekhwa was formalized in 1975 through the exhibition Five Korean Artists, Five Kinds of White at Tokyo Gallery in Tokyo, which led to Korea: Facet of Contemporary Art at the Tokyo Central Museum of Art in 1977, and The Latter Half of the 70s: An Aspect, a touring exhibition at five different art museums in Japan in 1983. Dansaekhwa became well known and gained further recognition through its inclusion in large-scale art events such as Seoul Contemporary Art Festival and Ecole de Seoul, thereby firmly establishing its place in the mainstream of Korean Art. The works of Dansaekhwa developed at approximately the same time with the artists of the earlier generation and this was desirable for the three artists who sympathized and shared the cultural state of the time. Dansaekhwa that dominated the Korean art scene in the 70s and 80s reflects the Korean sentiment that suppresses, lets things rest untouched, and prefers pure-mindedness. Likewise Dansaekhwa artists have a restrained approach to their use of color. They emphasize asceticism through repetitive actions such as layering, spraying, or marking with paint, and while utilizing abstract elements they never let it become the ultimate objective and rather use it as a lever for the expression of their inner-self, spiritual space, nature and universe. Similarly it is not difficult to find such artistic properties in the works of CHOI Myoung-Young, SUH Seung-Won and LEE Seung-Jio.

First of all, Sign of Equality by CHOI Myoung-Young demonstrates the expandability of space. His space is not restricted and can expand up or down indefinitely. This can be interpreted as intent to extend the surface to where the body meets the subject rather than to simply emphasize the importance of space. Assuming that the canvas is a small universe, the artist must make countless contact with it. CHOI focused on this idea and made his contact using his fingerprints. What is especially noteworthy is that he used his body rather than a brush as a mode of expression. His works seems to have consistently derived from actively making contact with the canvas rather than simply using his body as a tool, which is far more common. He used a method of dabbing paint with his fingers as if he was making fingerprints on the canvas and yet each fingerprint is unique. Density of paint, expression, placement and the way that the paint dripped are all different. Power, intensity and speed of the finger each left a different mark. As such, for CHOI Myoung-Young, the canvas is a place to cultivate his mind, a place for experience, and furthermore a place to encounter the universe. As exemplified in works such as Conditional Planes, his attempts became more formalized in the late 1970s, characterized by “cumulative gestures”.

SUH Seung-Won placed geometry at the heart of his painting. He has continued to make such works for over fifty years, which is why he might also be called “an artist of long breath”. His works are also invariably titled Simultaneity. On the canvas, large sections have an overlapping of diamond shapes in various colors, an overlapping of solid lines, or a concentration of box-shaped structures. The canvas base remains monochrome, as if implying the artist’s serenity of the mind. His abstract works that place geometry and colors at the forefront not only recognize the surface sculpturally but also maintains a lyrical stance of colors and forms, and furthermore form a harmony together with the space and the forms. Despite maintaining a perspicuous model, his works appear to bring the distance of the relationship closer through dialogues with his designated virtual world of geometry (the subject).

Moreover, the base is not limited to being a simple background in his work. SUH Seung-Won prepares the base of his canvas by repeatedly applying an undercoat some ten odd times, just as if one is preparing the soil before constructing a building atop. Undercoat is generally applied in many layers to improve coloring but another reason is implied in this case. The artist’s desire to seek the truth of inner-self is implied in this act of repeatedly painting and smoothing the surface. We inevitably look only at the surface of the final work but in fact his work involves hard labor in its production. Such meditative aspect of his work may be the fundamental reason why he continues to work in this way.

Nucleus (generic title of the works) by LEE Seung-Jio is composed of black and white stripes, or rather, of elongated rectangles that one might regard as representation of cold metallic matter. LEE continued to work in this pattern until the early 70s. By repeatedly applying brush strokes, the artist painted horizontal, vertical or diagonal strips that were darker towards the border and lighter towards the center, essentially creating the appear-ance of a three-dimensional cylinder. However, from 1975, he began to gradually move away from the cylindrical structure and began to cross light and shade in blue or black hues. Though he did not drastically change his techniques in these paintings, he reduced the difference in brightness between the center and borders thereby blurring the clear borderlines of the cylindrical shape. This change in his work could be recognized as a conscious “awareness of the flatness of Dansaekhwa”, which became prominent at the time. The works of LEE Seung-Jio during this period are viewed as being most meditative and tranquil amongst his oeuvre. The dark tones that cover the canvas separate, blend, and realign into yin and yang in repeated variations and then spread to the entire canvas, and “covertly vibrate on an infinitely successive, immanent rhythm”. (LEE Yil)

In Korea, abstract painting was the most prominent in the 1970s. Although this period was an especially difficult time that it even left a name called “Bo-rit-go-gae” (period of spring poverty), the hardship also allowed for the rise of a very important art movement, Dansaekhwa. Some Dansaehwa artists such as PARK Seo-Bo, CHUNG Chang-Sup, HA Chong-Hyun, YUN Hyong-Keun, and CHUNG Sang-Hwa displayed respect for matter and assimi-lated to the world of nature, whereas artists such as CHOI Myoung-Young, SUH Seung-Won and LEE Seung-Jio sought to surpass materiality with an articulate formative vocabulary in a steady and constant relationship with matter. They absorbed in the joy of simplicity as a result of meditation of the inner-self and expressed the light and shadow of life in black and white.

This exhibition seeks to demonstrate how Korean artists who are rooted in tradition confronted and overcame the ever-changing contemporary issues of the era. Korean artists of the 70s sublimated contemporary art to a “sculpture of the mother tongue” and on one hand appealed to the universal standards of aesthetics while modernizing tradition on the other. At the forefront of this movement were notable artists such as CHOI Myoung-Young, SUH Seung-Won and LEE Seung-Jio.

The realization of contemporary art rooted in the traditional spirit of Korea was a critical issue for Korean artists and it is only natural that these artists came to prominence due to their experience of dark history and hardship in the period of modernity. It is also a great joy to discover the state of pure meditation that is distinguished from an entangled spirit. It is hoped that ORIGIN, which opens at the Galerie Perrotin, will provide an opportunity to introduce and illuminate the leaders of the Korean contemporary art to the sophisticated art aficionados of Paris.