Artist D-Hwang’s art is different to mainstream art tendencies that have swayed the domestic art world for several years. His work, characterized by a non-subordinate, horizontal spectrum, could be interpreted through from an objective and intellectual perspective, but he regards these as oppressing the autonomy of art, considering them removed from the true nature of art.
Art is not external for artist D-Hwang. It is an expression of vision, experience, and instinct toward the self, not towards superficial appearances. His expression of artistic value is also rigidly confined to ‘himself’. As in his Self-portrait I(2004), and Self-portrait II(2007), and the Here Lie the Mortal Remains series, he chronicles himself.
Despite experimental variations, his work remains consistent, where art becomes a faithful medium recognizing the meaning of his own existence, and a mirror to his inner self. For the artist, a work of art can be understood as a stage showcasing an artist’s joy, sorrow, grief, or pleasure, or a visualization of oppressed energy inherent in the unconscious. Common to his work is trauma. It is obvious in his work, and in the same context as ‘facing his inner self’.
What’s more meaningful in his work is, I think, the tireless exploration of his self. This is reflected in several cycles of his work, such as Garatica(garage+art), GP(garat painting), GS(garat sculpture), and Sitting in Zen in Disappearing Earth. Most of these demonstrate an overlap of reality and his life, and his isolated, hard journey as an artist. They are imbued with the agony he underwent during his work process, the sorrow, and the pleasure. His recent series Sitting in Zen in Disappearing Earth shows the essence of his work and is indicative of his oeuvre. Inspired by the book of the same name, by Mumyoang Eo, Japanese meditator, it is more special than any other series, as it conveys a discourse on existence he has so far pursued in a minimalist style, without and sensible or recognizable concrete form.
The zde series, rendered in oil on a rusty steel plate, reveals the core elements of Zen in Disappearing Earth. This work is distinguished from Zen in Disappearing Earth in its cross of bright and dark, non-figuration, absence of explanation, peace and comfort in darkness, and meditative atmosphere, underlined by symbolic colors and metaphoric depth.
- Art Critique KyoungHan Hong(2009)
1997 BFA Parsons School of design
Selected Solo Exhibitions
2011 《Symphony no7 in major II, allegretto》, Hankuk museum, Yongin, Korea
2011 《Symphony no7 in major II, allegretto》, Von fraunberg art gallery, Dusseldorf, Germany
2008 《FROM GARAGE》, 2x13 gallery, Seoul
2008 《INCINERATION》, Youkobo art space in Tokyo, Tokyo
2008 《LK LOTUS AWARD》, with HODU Gallery in Seoul
2002 《DARK FACE》, Hello art gallery, Seoul
1996 《ONE》, Pleiades Gallery, New York, USA
Selected Group Exhibitions
2016 《Another my self in my self》, Gail art Museum, Gyeonggi-do, Korea
2015 《2015 SeMA》, SeMA Nam Seoul Living arts Museum, Seoul
2013 《33 Korean artist's contemporary painting show》, Gangdong Art center, Seoul
2010 《Very christmas》, Von Fraunberg art gallery, Dusseldorf, Germany.
2009 《ORIGINAL SIN》, FELLINI Gallery, Shanghai, China.
2008 《CARNIVORA》, C POP Gallery in Detroit, USA.
2008 《CARNIVORA》, L'Imagerie Gallery in LA, USA.
2008 《FANTASTIC CONTRAPTION》, Device Gallery in LA, USA.
2004 《YOKOHAMA HOTROD CUSTOM SHOW》, Yokohama, Japan.
2003 《YOKOHAMA HOTROD CUSTOM SHOW》, Yokohama, Japan.
1999 《PARKING LOT PROJECT》, Art Sonje center, Seoul
1997 《HOME MADE AIR》, Tompkin Square Gallery, New York, USA.
1995 《RANDOM ORDER》, Pleiades gallery, New York, USA.
2009 《KOSID Design Fair》, Coex, Seoul
2008 《Art Cologne》, Cologne, Germany
Hotel Prima Seoul
Taesung Rubber & Chemical Co.,Ltd
Korea Art Gallery.
Von fraunberg art gallery