Park Seo-Bo’s body of work reflects over five decades of exploring the role of an artist as a channel through which energy manifests itself in form. With repetitive gestures, Park intensifies spiritual and transcendental aspects embodied within his work. Characterized by simplicity and dynamism, his works eventually aim to lead to an action that empties and cultivates one’s mind through a deep meditation. One of the most influential artists in modern Korean art history, Park uses traditional Korean paper and employs simple but dramatic gestures that allude to a rudimentary language that reflects a uniquely Korean spirituality. This profound belief in the artist’s ability to merge with the medium reflects Park’s practice of illustrating the patterns of energy that make up the consciousness, evoking what he refers to as “body rhythm.” Another key significance to his work is that it inherently possesses an energy informed by Park's outlook on nature and physical gestures, formed by the amalgamation of the medium and consciousness. As clearly seen in his Écriture series, Park Seo-Bo has laid the groundwork for Dansaekhwa by ceaselessly merging both his inner and outer presence on his canvases.
Park served as the Chief Director of the Korean Fine Arts Association and the Director of the College of Fine Arts at Hongik University. He has been featured in multiple solo exhibitions in renowned institutions such as the Daejeon Museum of Art (2015), Daegu Art Museum (2012), Busan Museum of Art (2010), Musée d’Art Moderne de Saint-Étienne Métropole (2006-2007), and the National Museum of Modern and Contemporary Art, Gwacheon (1991). He has also been widely exhibited in group exhibitions including Korea: Five Artists, Five Hinsek ‘White’ at Tokyo Gallery (2018), a restaging of an exhibition of the same title from 43 years ago, When Process becomes Form: Dansaekhwa and Korean Abstraction in collaboration with the Boghossian Foundation, Brussels (2016), Dansaekhwa, an official Collateral Event in the 56th Venice Biennale (2015), Dansaekhwa: Korean Monochrome Painting at the National Museum of Modern and Contemporary Art, Gwacheon (2012), Working with Nature: Traditional Thought in Contemporary Art from Korea at Tate Liverpool (1992), the 13th Bienal de São Paulo (1975), the 8th Bienal de São Paulo (1965), and the 3rd Biennale de Paris (1963). His works are housed in major collections in Asia including the National Museum of Modern and Contemporary Art, Korea, and Tokyo Metropolitan Art Museum.
Source: Kukje Gallery artist page
Park Seo-Bo’s body of work reflects over five decades of exploring the role of an artist as a channel through which energy manifests itself in form. With repetitive gestures, Park intensifies spiritual and transcendental aspects embodied within his work. Characterized by simplicity and dynamism, his works eventually aim to lead to an action that empties and cultivates one’s mind through a deep meditation. One of the most influential artists in modern Korean art history, Park uses traditional Korean paper and employs simple but dramatic gestures that allude to a rudimentary language that reflects a uniquely Korean spirituality. This profound belief in the artist’s ability to merge with the medium reflects Park’s practice of illustrating the patterns of energy that make up the consciousness, evoking what he refers to as “body rhythm.” Another key significance to his work is that it inherently possesses an energy informed by Park's outlook on nature and physical gestures, formed by the amalgamation of the medium and consciousness. As clearly seen in his Écriture series, Park Seo-Bo has laid the groundwork for Dansaekhwa by ceaselessly merging both his inner and outer presence on his canvases.
Park served as the Chief Director of the Korean Fine Arts Association and the Director of the College of Fine Arts at Hongik University. He has been featured in multiple solo exhibitions in renowned institutions such as the Daejeon Museum of Art (2015), Daegu Art Museum (2012), Busan Museum of Art (2010), Musée d’Art Moderne de Saint-Étienne Métropole (2006-2007), and the National Museum of Modern and Contemporary Art, Gwacheon (1991). He has also been widely exhibited in group exhibitions including Korea: Five Artists, Five Hinsek ‘White’ at Tokyo Gallery (2018), a restaging of an exhibition of the same title from 43 years ago, When Process becomes Form: Dansaekhwa and Korean Abstraction in collaboration with the Boghossian Foundation, Brussels (2016), Dansaekhwa, an official Collateral Event in the 56th Venice Biennale (2015), Dansaekhwa: Korean Monochrome Painting at the National Museum of Modern and Contemporary Art, Gwacheon (2012), Working with Nature: Traditional Thought in Contemporary Art from Korea at Tate Liverpool (1992), the 13th Bienal de São Paulo (1975), the 8th Bienal de São Paulo (1965), and the 3rd Biennale de Paris (1963). His works are housed in major collections in Asia including the National Museum of Modern and Contemporary Art, Korea, and Tokyo Metropolitan Art Museum.
Source: Kukje Gallery artist page
