Painter Park Seo-bo (1931~) was a pioneer in Korean abstract art that led to monochromatic painting in the late 1950s, following the Korean abstract art Enformel. In particular, he is famous for developing the unique spirit and formative language of Korean tradition in his own way through "materials and behaviors." Park Seo-bo's representative work is the
series. The first attempt in 1967 marks a decisive change in the world of painting by turning the act of painting into an act of erasing it.
Chapter 1 [1971~1980] Electrical Tricks 'Fight Actions with Substances'
The first masterpiece was conceived from a notebook with a square line of his son, an elementary school student. The square-shaped object began to be erased by covering it with a thin pencil obliquely. As a result, the screen is transformed into a completely new space with overlapping lines of a given square shape and a detailed description. The series of
captures the so-called "material" versus "action" records and erasure of those records on the screen, indicating that he has entered a new art world route.
In the early '70s, works divide the screen into squares and erase the lines that make up the divided space. Records of these repetitive acts are kept intact on a large canvas. This behavior gradually develops in a variety of ways. Paint the canvas with oil paint and repeat the same action with a pencil or a pointed tool before it dries. These acts do not end in a single act, but they are produced on canvas again and again in accumulation of the same act.
Park Seo-bo ambiguous in drawing, painting to separate about the behaviour of an art critic, This is “Informalism as a direct expression of real human act of came to an excellent means an expression of any damages is excluded in some sort of free of becoming unworldliness by noni of hand.” an editorial.Park Seo-bo like this electric
series are move to play the state of perfect self-effacement and now an entirely different kind of conversation.
Chapter 2 [1981 - Present] Late Art of Art 'Action and Matter Come Together'
series marks a major turning point in the 1980s. Park Seo-bo has been consistent with his interest in the material itself and with his exploration of the effects of any action on it since he began his series. His inquisitive mind is interested in the traditional Korean paper "Hanji" from Western canvas or bold Mapo." As you scratch the surface of Hanji, which is overlapped with several layers, you can see traces of clumps and lines drawn with pencils because Hanji is pushed back. In the early 80s, the confrontation between the acts seen in the series of biographical tricks, in which matter and action are combined into one, forming a form in which the act is melted into matter.
In the mid-1980s, some of the masterpieces of the art were consistent with the material of Hanji, in which the free acts of the hand permeated. The pencil lines, which used to be somewhat regular, disappear, and instead, a small chunk of paper is left on the screen by pushing the lines drawn with sharp tools and fingers. As seen in these works, Park Seo-bo's art world is consistent from the beginning, rather than portraying or recreating forms, it is a process of exploring how his actions are recorded on the screen and how he is building his inner world.
It is not a confrontation between matter and action that enters the later era, but rather a capital position to immerse in matter and become united as one or a state of one's will to do so.
By the mid-1980s, Park Seo-bo's work slowly disappeared from the traces of the tomb with a pencil. It has the same trajectory as the process of slowly reviving color while using aqueous paint in meteoric paints. Now, Park Seo-bo's later work is made of hanji and aqueous pigments on canvas, and the screen remains in the best natural state by thoroughly dissolving the behavioral elements in hanji. The works of this period's magic series reach a noble state in which matter and action are most naturally integrated.
Also called ‘zigzag’ works are manufactured in the 1990s several small ridges of a certain direction in all of the screen without each other in groups and these are lies.Or divided into several segments, and the big screen, a small hill of units consisting of, and as one unit The unit combined with each other to form a whole appear work.Also, this is the color came in the works has gotten on Korean paper, which is water-based colors, and On the contrary, been out of the basic ideas may one's colors are more clearly.During this time, interviewing Park Seo-bo are called ‘It is an excellent means to empty my mind, such as.’ and held it back than to express, in an article by one step, because the transformation of the aesthetic to reach the act claim.
As the year 2000 entered, a piece of paper pushed by a pencil or with a finger, such as "zigzag," disappeared, and only the lines left in order throughout the screen appeared. This work, reminiscent of a fine furrow on the very first field of seaweed, may have come from Park Seo-bo's strict discipline. Considering that he mentioned the word "my work is the act of my capital" in his confession in many places, it seems like the result of a very logical act that results from this work. If you can understand everything from art to logic.