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Hwasaan, Kang - Incidental Dominion in Life
Hwasaan, Kang - Incidental Dominion in Life
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Returning to Kang’s aim to work in the Oriental spirit, Kang used to abstract and focus the core of nature,
such as by using rectangular shapes, circles and dot shapes found in nature, but not the whole of nature
like the atmosphere of ancient Oriental painters.

Under the long compromising procedure with the blank space and the self-composing drive for the
painting, Kang’s creativity is now freed from constraints by both practical theories in composition and
Oriental taste. What is more, the main theme, “Incidental Dominion in Life”, can be explained as a result
of the compromise.

“Incidental Dominion in Life”
Two contradictory factors on the canvas-that is- the Korean Hanji-like base and the Indian ink-like
strokes- form a consistent style in Kang’s painting. However, the basis is none other than multi-layers of
oil pigment, while the strokes are not Oriental, painterly ones, but rather dynamically dig into the mul-
ti-layered basis like an electric aftershock, with stubby brush stroke.

Limited chances are dominated in this situation. All we can make is a rough figuring out of the results in
the painting. Strictly speaking, the splattered pigments after swift brush strokes are not by chance itself.
What is more, the quasi-chance operation can not go together with religious inevitability.
The religious belief in Kang’s paintings came from an unexpected chance operation when he was work-
ing at a remote studio in the deep in the mountains. As if Wassily Kandinsky(1886-1994) had found an
abstract figure from his presumed-to-be ruined painting, Kang was said to find a compensated comple-
tion from his abandoned works after the rainfalls and dewdrops. The experience led Kang to figure out
that the chance might be led by certain inevitabilities compared to either the freedom in the Bible, or
Buddhahood in Buddhism.

The religious inevitability behind the chance operation again led Kang to the earnest longing for works
with religious impression, like that of both Georges Rouault(1871-1958), who anticipated the viewers
doffing their hats in front of his work, or the enchanting “Genesis” by Michelangelo Buonaroti(1475-1544).
However, Kang insisted on outbreaking touches and accidental traces to approach religious devotion,
considering the trend of the world.
Religion of our days, in Kang’s theory, should be neither too heavy, nor too boring, even for the instant
culture generation. The “single stroke” by Shitao(1641-1720) explains well Kang’s strokes for admiring the
spiritual depth of the artist’s inner mind.

Therefore, not far from the maxim of Shitao, Kang’s belief of the single stroke represents a contemplative
and philosophical state of mind. Above all, the title “Incidental Dominion in Life” leads all thoughts and
visual factors to pious belief, while the sub-title deals with the cheerful, buoyant essay, we see in other
subtitles like “Soul Cleaning Ritual for Fishing” in 1996, and “Erecting Tower by Mind” in 2005.

Conclusion
After all, the 3rd subtitle in Kang’s exhibition, “The tranquility and activity” follows. The refreshing black
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