Universe in a Dot | 05-IV-71 #200 (Universe)
Hwan-ki Kim stands as a seminal figure in the world of art, known for introducing Dansaeghwa, a distinctive school of Korean abstract and monochrome painting, onto the global stage during the 1950s through the 1970s. His profound impact on the art world is underscored by his unique ability to harness Korean materials, thereby solidifying his reputation as one of the most successful painters in this genre. His body of work, particularly his numerous abstract pointillism Dansaeghwa paintings, continues to serve as a paragon of artistic expression and influence for emerging talents.
Dansaeghwa?
The late 1960s marked a pivotal juncture in the art world, with the emergence of minimalist and monochromatic movements that eschewed illusionary elements in favor of simplicity, both in composition and the use of single colors. In South Korea, minimalism and monochromatism began to take root in the early 1970s, culminating in a significant wave of artistic expression in the mid-1970s. Interestingly, Korea’s interpretation of this trend refrains from using the term “monochrome,” opting instead for the nomenclature of “Dansaeghwa.”
Distinguishing Dansaeghwa from its Western counterpart, the heart of this distinction lies in the evolution of Korean monochromatic art over four decades, which has resulted in the establishment of a unique, authentically Korean style. Even in the 1990s, it was referred to as “Korean Monochrom Painting,” but by the 2000s, it had gained international recognition as “Dansaekhwa,” a phonetic rendering of the term. Unlike Western monochrome and minimalist art, Korean monochrome paintings embody distinct characteristics of spirituality, tactility, and performance. While minimalism often engages with the materiality of objects, monochromatic art strives to attain a state of unity between art and the self. Minimalism is primarily conceptual in nature, whereas monochromatic painting places a strong emphasis on the energy stemming from the artist’s physical actions, including their working process. Unlike the ’empty’ canvases of minimalism, monochromatic paintings reveal the indelible imprints of intense thought and labor, exuding a profound depth of silence.
The Artistic Process: Embodied in Dansaeghwa
The crux of the distinction between monochromatic painting and Dansaeghwa lies in the creative process. Dansaeghwa embodies a unique emphasis on spirituality, tactility, and the artist’s bodily engagement. A remarkable facet of monochromatic painting is the ability to perceive the texture of colors that have been meticulously layered by the artist through countless brushstrokes. Even when working with the same black and white, the density of colors achieved through layering varies significantly, a testament to the artist’s relentless pursuit of their own expressive techniques. This repetitive and intensive artistic endeavor is a means to transmute a state of transcendent mindfulness onto the canvas, akin to a lifelong spiritual journey, akin to that of a monk.
05-IV-71 #200 (Universe)
One of Hwan-ki Kim’s most revered abstract pointillism Dansaeghwa works, “Universe 05-IV-71 #200,” represents the pinnacle of his artistry. Crafted in 1971, this masterpiece stands out as the sole diptych in Kim’s oeuvre. Comprising two vertically elongated screens, “Universe 05-IV-71 #200” achieves harmonious symmetry, forming a square measuring 254×254 cm. Upon close inspection, the piece reveals intricate honeycomb-like patterns, adorned with countless dots meticulously executed with a delicate calligraphy brush.
The topmost dots appear to expand, creating a visually immersive experience, akin to feeling the infinite synesthesia of a universe in motion. Each dot within this work symbolizes a radiant star, collectively composing the cosmos itself. The title of the piece aptly reflects this sentiment.
The Significance of the Dot: A Symbolic Journey
The adoption of the abstract element known as the dot or the point became a hallmark in Kim’s work beginning in 1965. His artistic evolution from Seoul to New York in 1963 marked a transition from figurative to abstract forms. In the initial stages, his compositions relied on horizontal and vertical lines. Over time, diagonal elements and dots were introduced. Kim’s art focused not only on the role of dots and lines but also on the interplay of colors in conveying emotions and themes. A noteworthy shift in his palette occurred, with a transition from vibrant colors to predominantly grey-blue or black-gray hues. This subtle yet distinctive shade of ‘ventilating blue,’ as it is known among experts, became his signature. “Universe 05-IV-71 #200” beautifully exemplifies the ethereal beauty of this shade. During the 1970s, Kim continued to experiment with various shades of blue, employing techniques such as layering and overlapping to emphasize nuances of light and shadow. The result is a multifaceted canvas adorned with tens of thousands of shimmering layers of color, serving as a testament to the artist’s meticulous craftsmanship. This scholarly analysis provides an in-depth exploration of Hwan-ki Kim’s legacy and the intricacies of Dansaeghwa, underscoring its profound cultural significance and artistic merit.
In the aftermath of a war-scarred era, when the very existence of Korea remained unknown to most, Kim Hwan-ki emerges as a beacon of artistic resilience and vision. His indomitable spirit paved the way for generations of artists, establishing a legacy of reverence. Beyond the realm of conventional boundaries, his work not only transcended time and place but ignited a collective consciousness within the hearts of his fellow artists. Kim Hwan-ki’s contributions have manifested as a single dot on the canvas of history, but within that humble dot, a universe unfolds, connecting the past to the present and casting a luminous path for the Dansaeghwa painters of today and tomorrow.
“a dot, a sky”
– Hwan-ki Kim –