Lee Ufan (b.1936) came to prominence in the early 1960s as one of the pioneers and major proponents of the avant-garde Mono-ha (Object School) group. This movement challenged the Western notions of representation and focused rather on the relationships of materials and perceptions in contrast to expressionist tendencies. The artist’s practice often entails direct and thoughtful iterations of gestures and the use of minimally manipulated physical materials. His painting series demonstrate minimal aesthetics through consistent pattern or order while highlighting the relationship between brushstroke, material and the canvas. His sculptural series Relatum, comprised of one or more light-hued stones and rectangular iron plates, is equally minimal. The dialectical relationship between brushstrokes and canvas is also reflected in the relationship between stone and iron plate.
Source: Gallery Hyundai artist page
Lee Ufan (b.1936) came to prominence in the early 1960s as one of the pioneers and major proponents of the avant-garde Mono-ha (Object School) group. This movement challenged the Western notions of representation and focused rather on the relationships of materials and perceptions in contrast to expressionist tendencies. The artist’s practice often entails direct and thoughtful iterations of gestures and the use of minimally manipulated physical materials. His painting series demonstrate minimal aesthetics through consistent pattern or order while highlighting the relationship between brushstroke, material and the canvas. His sculptural series Relatum, comprised of one or more light-hued stones and rectangular iron plates, is equally minimal. The dialectical relationship between brushstrokes and canvas is also reflected in the relationship between stone and iron plate.
Source: Gallery Hyundai artist page
