Page 11 - 양상철 개인전 2024. 11. 12 – 25. 2. 23 제주돌문화공원내 오백장군갤러리

Hancheon refers to the overall acceptance of the Eastern and of the visual elements of the waterfall. Each letter is highlighted
Western art styles, which means the dissolution of the form and the to represent the various phenomena of Jeongbang Falls and the
birth of novel beauty. pouring water, rain and fog, smoke, rainbows and half-clear sky,
Hancheon calls himself a ‘fusion calligraphy artist’ in the sense that and the water running off sideways to the ground. Through the
he is a practitioner of artistic activities based on this integrated difference of colors and the transformation of letters, the artist
thinking. The idea of ‘communication with the masses’ beyond the is experimentally developing the waterfall’s sense of presence,
inherent sublime beauty of calligraphy originated from a sense realism, and pictorial form, such as in the descent of the water and
of reality that wants to bring to life the calligraphy that has lost its the white space at the margins. It exemplifies how dots and strokes
contemporariness. compose space and create form in calligraphy.

Let us take a look at the work titled, Lao-tzu and Sanbanggulsa
Cave, which was created from a three-day project. It is in-situ
calligraphy art made of ink and acrylic on a 5-meter-wide linen. It
is Lao-tzu’s epigram, written in bronze script in the Western Chou
era of China, which is a warning against the greed of human beings
who survive in the power of the powerful. The picture vigorously
depicts in large brush strokes a human being who practices Summer at Jeongbang Falls
asceticism trying to escape the rain and wind. The letters in red 2024
ink, 空 (emptiness), 虛 (vanity), and 無 (nothingness), dominate Mixed media on canvas
162.2x130.3cm
the spatial image as if they are floating from the text. It is an
action-oriented work that clearly shows human survival and the Hancheon continues to experiment more radically in his fusion
vulnerability of ideology, and the cloudy and windy weather of Jeju calligraphy, producing works that can feel the “tactile visuality”
seems to play a part. with modern art. He uses ground Jeju stone mixed with plaster as a
painting material to give the texture of the windy atmosphere and
rough soil of Jeju. Strokes of a paint knife or a gimlet, quickly done
before the plaster dries, add thickness and subtle beauty, resulting
in an unpredictable mix and color effects.
This pictoriality effectively represents the material layers and
cracks created by the integration of color and materials. He is
Lao-tzu and Sanbanggulsa Cave 2021 experimenting with the aesthetic implications of the direct clash
Dyes, acrylic paint, ink on linen 180x500cm
between ancient abstractions and textual forms on the material
The dissolution of the form that Hancheon seeks lies in the fusion of modern materials, or ‘tactile visibility.’
spatial composition, speed, rhythm, and contingency made by
calligraphy and art. Referring to the art imbued in his calligraphy The Story of Jeju-1, made of mixed materials on a wood panel,
and architecture, he argues that “calligraphy is music, painting, features the sun, mountain, sea, roe deer, and Jeju haenyeo
sculpture, and architecture as it is rhythmic.” The lines and the (woman diver), which are represented by randomly wielding brush
musical flow of calligraphy are transformed into rhythmic music, strokes and scraping the plaster surface on a thick plaster paste.
and the visual form is transformed into painting, sculpture, and A colorful world where life is lively and vibrant contrasts with the
architecture to constitute an immense universe. rough and violent blue dye of the mountains and waterways. The
perpetuation of time, nature, and human life in circulation are
An ideographic composition made of mixed media on canvas, metaphorically expressed.
Summer at Jeongbang Falls is a work that shows the formalization

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