Korean culture values understatement. Not always, sometimes raucous merriment, or violent vendetta, are the order of the day. But at heart, there is a still, contemplative approach to experience and expression that favours a minimal, carefully considered statement.
The term ‘Dan-saek-wha-단색화’, which means “monochrome painting,” is used to refer to the works of the post-war Korean artists, who developed a mediative, process-driven approach to sculpture and painting that paralleled the Minimalist Art being created in Europe and America at the same time.
Equally, Korean culture values industriousness and technological achievement. The myriad possibilities of a high tech future are anticipated and cerebrated. Modern materials and technical solutions are eagerly explored, and actively incorporated in contemporary Korean art practice.
Both of these creative approaches exist in equal measure in Hwan’s work.
The 3D pen drawing/sculptures grow organically out of a dedicated use of protracted time. The repetitive use of the tangible marks presents the viewer with a participatory experience reflecting on the delicacy of the process.
A similar minimal, material approach is used for the copper sculpture/drawings that act as triggers and gateways into Hwan’s sound work.
Sound is the third, and in some ways most fundamental element, that Hwan deploys in his artistic synthesis. By embedding the triggering of sound directly into the construction of the work, Hwan invites the viewer to participate in a semi-magical experience where a simple touch reveals a hidden dimension to explore.
The technical details involve circuits and wires, sensors, beam-projection and vibration speakers, that interweave with the visual aspects to form the inner workings of an object which is both musical score and performer.