Park Seo-Bo B. 1931

朴栖甫 Ecriture No. 070212

Footnotes

Provenance
Private Collection, Korea

描法 070212
綜合媒材韓國紙裱於畫布
2007年作

背面簽名：朴栖甫 PARK SEO-BO 描法 ECRITURE NO. 070212 2007年作 S.B. PARK

來源
韓國私人收藏

'My work is [...] related to the oriental tradition of space, the spiritual concept of space. I am more interested in space from the point of view of nature. Even though my paintings may represent an idea about culture, the main focus is based on nature [...] I want to reduce the idea and emotion in my work to express only that. I want to reduce and reduce – to create pure emptiness.' Park Seo-Bo ( 2006)

「我的作品是...有關東方傳統的空間理念，是空間的精神理念。從大自然的角度來看，我對空間更感興趣。即使我的畫作可能具有文化層面的意念，但主題還是集中於大自然...為表達這一點，我希望能淡化作品中的意念和情感。我希望能淡化，再淡化，最終讓作品變成純碎的空無。」朴栖甫（2006）

Considered one of the leading figures Korean modern art, Park Seo-bo is also considered one of the foremost members of Dansaekhwa, the Korean Monochrome Movement. Deeply affected by the Korean War (1950-1953), artist of Park's generation turned away from representational forms and explored instead more introspective practices and philosophies. Park's Ecriture (meaning, "handwriting") series soon emerged as his response to a search for a dynamic, meditative art, non-traditional and non-representational practice. Works such as the present lot, Ecriture No. 070212 are created in one sitting with the meticulous laying down of paint, which is then incised to create a repeated but dynamic form. The works often have a near-sculptural quality, emphasizing texture, materiality, and mood. As with the works of Lee Ufan, they serve no representational purpose other than the manifestation of the artist's engagement with his materials, his progression through those materials in a moment in time. As such, the works resonate with an almost organic singularity, with the infinite revelations of the artist as he approaches the unfolding of time and space, just as a monk might approach meditation, discovering that that the fundamental truth in his infinite repetitions are their uniqueness and variability. It is with works like these that Dansaekhwa masters fused an interest in "Western" oil painting with Korean philosophical traditions, creating an utterly new trajectory for modern art in Asia.

朴栖甫不但被視為韓國當代藝術的領軍人物之一，同時也是韓國「Dansaekhwa」單色畫運動先驅的其中一員。與朴栖甫同代的一眾藝術家，深受韓戰（1950﹣1953）的影響，銳意要走出具象派的框架，轉向探索更具啟發性的藝術模式及哲學理念。因此，朴栖甫埋首探索更具生機，能費人深省的藝術途徑，而且是非傳統、非具象的作法，於是他的藝術系列《Ecriture》（意謂：書寫）由此誕生。這次展示的作品《描法 No. 070212》乃藝術家一氣呵成創作的，他小心翼翼地塗上顏料，然後再在上面進一步作雕刻，從而打造出重複但帶有生機的形態。朴栖甫的作品重視質感、材料和氛圍，有着近乎於雕塑般的特質。他的作品好比李禹煥的一樣，兩者均沒有追求表現具體物象，唯一目的為展示藝術家在創作過程中與材料接合時的表現，呈現藝術家透過材料來創作的一瞬。因此，當藝術家漸漸打開時間和空間之門，作品便會與不經修飾的偶然性，還有藝術家無盡的發現產生共鳴。這就好比一個和尚冥想時一樣，他會發現重複的真理本源，就是其獨一無二和變異性。正正就是如此的作品，一眾單色畫大師把自己對「西方」油畫及韓國傳統哲理的熱情，相融合起來，創立出一個亞洲當代藝術領域的全新軌跡。