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

The connection between the artist’s improvisation and the
dynamic expression with the abstraction of calligraphy can be
seen even in the artists associated with Art Informel in France in
the 1950s. The foundation of improvisation, abstractness, and
performance was influenced by Oriental calligraphy. In 1957,
Georges Mathieu completed the masterpiece in seconds without
a sketch in front of a Japanese audience and then mentioned a
master calligrapher.
Yves Michaud, who emphasizes the behavioral and calligraphic
touch of the brush; Antoni Tapies, who stresses the texture
and tactile properties of paint; Jean Fautrier and Wols, who use
sprinkling and scratching techniques, their works are all interpreted
as attempts to return to the origin of art. Art Informel emerged

Island of the Wind - 1,2,3,4 2024 from an attempt to break with tradition and the atmosphere of
Mixed media on wood panel 60x60cm political authoritarianism that had provoked war.
Despite experimenting with all the techniques mentioned by
Hancheon’s fusion works assign imaginative power to imagery Informel artists, Hancheon’s works differ from the art style in terms
with ancient text and induce the intuition and artistic experience of separation from tradition. In spite of the similarities in properties
of things. From the idea of ‘searching for the origin of the letters,’ of fusing materials as a medium, Hancheon is different in that he is
Hancheon identifies the pictographic traits in rock paintings and not cutting off tradition as much as seeking to find its origin.
ancient scripts (i.e., oracle bones and bronze script) and finds the
world of ancient hieroglyphics, where ‘text = picture’ is possible, Goam Lee Ung-no is often referred to as the pioneer who
and the world of image, where ‘seeing’ is possible to represent it promoted the originality of Oriental art with relevance to
from a present perspective. calligraphy. He moved in 1859 to Europe, where he was impressed
by the experimental offerings of the technical aspects of materials
This attempt at pictographicity is meaningful as an essential in the Kassel Documenta and began to work with paper as a
challenge to the form of calligraphy scripts, which is inspired by medium. Lee pursued his idiosyncratic style through collage work,
oracle bones or pictograms from Shang and Zhou periods to graft where he cut pieces of paper from abandoned magazines and put
it with modern aesthetics. It is the dual value between dissolving a them together like mosaics. He also finished the abstract work by
form (image, simplification, symbol) to approach the vivid notes, attaching torn pieces of paper in the shape of Chinese character
meaning, and form of a thing, and its perfect form as a completed strokes to the canvas and coloring them. In 1962, Lee Ungno
symbol, or formalization. Collage, curated by Galerie Paul Facchetti, Paris, drew attention for
In order to express the rich texture and elements of things, only the the rich and subtle color, tone, and plasticity of the works.
essence of action, which is made of formless acts and acceptance, Lee’s ideographic abstraction is a work in which characters that
or formless elements, is necessary. Its pure power, however, is appear material and weathered on paper with a natural basis
manifested in the form of abstraction. have different tone densities and create a sense of spatial depth.
According to the artist’s words, it is a representation of ‘letters
All the natural forms that created Jeju Island, such as the winds of still faintly remaining after being worn off by the elements,’ He
Jeju, the soil and the sea, the procession of people, the traces of the continuously checked his identity and origin at the center of
Neolithic era, and the fish that appeared in the Island of the Wind Western art.
series, eventually disappear with the wind, but only the strong will
of life survives as abstract lines. Hancheon Yang Sang-cheol is an innovator who has carried out

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