Page 247 - 강화산의 작품세계

Hwasaan, Kang - Incidental Dominion in Life
Hwasaan, Kang - Incidental Dominion in Life
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Kws0191 막작골 교회 부분, 캔버스에 오일 , 53x45.5cm, 1990
works created under the theme of ‘Incidental
Dominion in Life’. He says he would pursue
on-going works under that theme that rep-
resents the fatal life, till when he himself is
hot sure.

These series of’Incidental Dominion in Life’
shows that he is now escaping from the
obssession for drawing, slowly. He finds him-
self erasing forms in canvases unconciously as
if he has realized the principle of life. Distan-
cing himself from the form, he gains more of
freedom, and erasing the form he finds more
of appeal. Recent works of <Incidental Domin-
ion in Life fishing>(1995) and <Incidental
Dominion in Life-life>(1996),exalted to higher
dimensionbut retaining the consistency have
minimized forms and highly restrained colors. To compensate the planeness and the limit of
two-dimension caused by simple and bold lines, he adds media like cloth and copper plates on
canvases. And the colors of goldand silver are introduced into canvases and lines looks more
like stakes, which capture our eyes like wriggling creatures do. His works look like minimalist’s
in their appearances, but his concept approaches to a way of thinking of Oreient. For example,
the work of<Incidental Dominion in Life-an exorcism for purification>, in which stakes knocked
into the sky for the purpose of fishing appear, could be interpreted as a kind of religion or the
philosophy of pantheism. It reveals the attitude of the arist dreaming the purification of the
world and the ego. His minimal plastic language distancing from representation shows his new
insight for the space. his paintings, into which the gentle and harmonious dispensation of
nature is melted, are not as aggressive or rough as the ones he has created in the past.

His works became more meditative as he got his studio in the mountain of Igok-ri, nearby
Kwangrung arboretum. It must be a natural result of his effort to grope the importance of Ori-
ental intuition, and to sympathize himself with painting. What he hopes to expressis ‘nature’,
in her ultimate sense, one that cannot possibly be expressed in any language virtually. In that
context, idealism of Lao and Chuang lies in the deepest part of his unconciousness. Stone
ruins of temples are what he is interested in these days. He finds dispensation of nature and
the universe in stones scattered in deserted places, and adds aesthetic values to them. He
tries to express such a material as nature for its won sake, not descriptively nor explanatorily,
just with the help of line and plane. His works that endow a name and value to unnamed and
valueless stone, beyond the dimension of representation and description, could be regarded as
figurative reduction of essence. In that sense he is a psychic medium who imbues energy and
new form into meaningless objet and makes them to communicate each other, and with him.
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