Chung Sang-Hwa è una figura centrale del Dansaekhwa, un movimento artistico sviluppatosi nella Corea del dopoguerra caratterizzato da un approccio diverso rispetto all’astrazione modernista. Sebbene il termine si traduca letteralmente in “pittura monocromatica”, il Dansaekhwa è caratterizzato da processi piuttosto laboriosi, gesti ripetitivi e un’estetica riduzionista. Radicato nello stile informale coreano dalla fine degli anni ’50 alla metà degli anni ’60, il Dansaekhwa è emerso tra le istituzioni e le gallerie coreane solo negli anni ’70 grazie al lavoro di artisti come Park Seo-Bo, Lee Ufan, e Yun Hyong-Keun.
Nel corso della sua carriera di quasi sessant’anni, Chung Sang-Hwa ha sviluppato un singolare processo meditativo/artistico attraverso il quale applica e rimuove ripetutamente la pittura dalle sue tele, ottenendo superfici monocromatiche tattili multistrato.
Chung Sang-Hwa is a central figure of Dansaekhwa, an art movement that developed in post-war Korea and that took a different approach from modernist abstraction. Although the term literally translates to “monochromatic painting”, Dansaekhwa is rather characterized by laborious processes, repetitive gestures and a reductionist aesthetic. Rooted in the informal Korean style from the late 1950s to the mid 1960s, Dansaekhwa emerged in Korean institutions and galleries in the 1970s thanks to the work of artists such as Park Seo-Bo, Lee Ufan, and Yun Hyong- Keun.
Over the course of his nearly sixty-year career, Chung Sang-Hwa has developed a unique meditative/artistic process through which he repeatedly applies and removes paint from his canvases, obtaining multi-layered tactile monochromatic surfaces.
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