Language
The Wind Blows-240612
Lee Kang-so - Brush Dance Walking on Empty Space
These three large paintings from Lee Kang-so's 2024 series "The Wind Blows" attempt capturing invisible energy flow through brushwork and empty space.
Standing before Lee's work brings quietude like facing poetry. Lines crossing screens, overlapping tones, and empty space contain decades of contemplation in that emptiness.
Different screens feature organic brush flows of varying strength, forms looking like characters yet unreadable—focusing on revealing energy and rhythm rather than meaning.
Lee experiments with traditional ink painting spirituality on contemporary painting. Though using acrylic and canvas, he uses long calligraphy brushes for intuitive brushwork containing his breathing and body rhythm.
Long brush traces resemble Eastern calligraphy, while color restraint recalls Western minimalism. Moving between two worlds, he created his own painterly language.
Colors consist of restrained black-white and gray series. Empty space use contemporarily inherits Oriental painting's "emptiness" aesthetics, leaving "energy and movement" on screen.
Lee's painting crosses boundaries between tradition and contemporary, East and West, proving ink painting remains living artistic language. Gray-blue lines spread like ripples, quietly shaking viewers' sensations.
Before his paintings, we question: "What is Eastern, what is contemporary?" Lee delivers answers through brush dance and empty space resonance.
Standing before Lee's work brings quietude like facing poetry. Lines crossing screens, overlapping tones, and empty space contain decades of contemplation in that emptiness.
Different screens feature organic brush flows of varying strength, forms looking like characters yet unreadable—focusing on revealing energy and rhythm rather than meaning.
Lee experiments with traditional ink painting spirituality on contemporary painting. Though using acrylic and canvas, he uses long calligraphy brushes for intuitive brushwork containing his breathing and body rhythm.
Long brush traces resemble Eastern calligraphy, while color restraint recalls Western minimalism. Moving between two worlds, he created his own painterly language.
Colors consist of restrained black-white and gray series. Empty space use contemporarily inherits Oriental painting's "emptiness" aesthetics, leaving "energy and movement" on screen.
Lee's painting crosses boundaries between tradition and contemporary, East and West, proving ink painting remains living artistic language. Gray-blue lines spread like ripples, quietly shaking viewers' sensations.
Before his paintings, we question: "What is Eastern, what is contemporary?" Lee delivers answers through brush dance and empty space resonance.