Park Seo-Bo is a seminal figure in Korean contemporary art and one of the founding members of the Dansaekhwa monochrome movement, a synthesis between traditional Korean spirit and Western abstraction, which emerged in the early 1970s in post-war Korea and has gained international recognition since. Although the Korean monochrome movement has never been defined with a manifesto, the artists affiliated with Dansaekhwa, including Chung Chang-Sup and Lee Ufan, are commonly known for their use of a neutral palette (namely white, beige and black), their material emphasis of the pictorial components and fabrics, and their gestural and systematical engagement within the artworks in the making. As a matter of fact, in Park Seo-Bo’s paintings, process and discipline prevail, whereas the French Art Informel scene originally inspired the artist’s early aesthetics. Indeed, back in 1961, Park Seo-Bo earned a UNESCO scholarship to study and ended up spending a whole year in Paris, where he furthered his knowledge of Art Informel, which arose in Europe parallel to the American Abstract Expressionism during World War II and became prevalent throughout the 1950s. As soon as 1957, Park Seo-Bo had already helped establish in Seoul the Hyun-Dae Artists Association around the principles of Art Informel, the gestural and abstract techniques of which, like those of Action Painting and Color Field in the United States, would enable young Korean artists to express their anguish in the immediate aftermath of the Korean War. The influence of Art Informel in the early works of Park Seo-Bo can be seen in his series “Primordialis” from the early 1960s, which is characterized by aggressive brushstrokes, dark hues and amorphous forms. Yet by the mid-1960s, the artist had already rejected the occidental manners that he had primarily adopted and started devoting his time to learning about oriental philosophy. 

Courtesy of Perrotin