1. The Concept and Meaning of Conjunction

Ha Chong Hyun (b. 1935) is regarded as a pioneer of Dansaekhwa (Korean monochrome painting) in contemporary Korean art. His representative series, ‘Conjunction’, has played a crucial role in introducing Korean abstract painting to the global art scene. Since the 1970s, he has consistently explored the concept of conjunction, constructing a painterly language through material, space, and physical gestures.

In his work, ‘Conjunction’ is not merely a formalistic experiment but rather a process of uniting material and the artist himself. It is an act of fundamentally questioning the essence of painting. Unlike traditional painting techniques, ‘Conjunction’ is completed using the unique ‘bae-ap (背押法)’ method, in which paint is pushed through from the back of the canvas rather than applied to the front. This distinguishes his approach from typical Western abstract painting, emphasizing the inherent materiality of the medium. Ha does not merely apply paint; instead, he engages in a process where the paint seeps through the fabric, establishing a dynamic relationship between the artist's actions and the material itself. Through this process, he expands the conventional concept of painting, incorporating space and temporality as integral elements of artistic practice.



2. The Korean Avant-Garde Association and Early Experiments (1960s–1970s)

Founded in 1964, the Korean Avant-Garde Association was a leading experimental art group in Korea during the late 1960s. Ha Chong Hyun, along with artists such as Kim Kulim, Lee Kun-Yong, and Sung Neung-Kyung, actively explored new artistic expressions beyond traditional painting methods. They incorporated conceptual art, performance art, and object-based art, blending Western influences with distinct Korean sensibilities and experimental spirit.

During this period, Ha conducted various artistic experiments, producing works such as Untitled A (1965) and Birth B (1967). He employed materials like newspapers, wires, and springs, pushing the boundaries of conceptual and sculptural experiments.

Later, in City Planning White Paper (1969), he explored geometric patterns and spatial structures, differentiating his work from Western minimalism. These early explorations laid the foundation for his transition into the ‘Conjunction’ series, marking the beginning of his monochrome painting practice.

3. Development of the ‘Conjunction’ Series (1970s–1980s)

Beginning in 1974, Ha Chong Hyun’s ‘Conjunction’ series became his defining body of work. Using coarse hemp cloth, he developed the ‘bae-ap’ technique, pushing oil paint from the back of the canvas rather than applying it to the surface. This method not only introduced a new material technique but also fundamentally subverted the traditional concept of painting. By reversing the direction of paint application, Ha redefined the spatial dynamics of painting, challenging the conventions of Western abstraction.

During the 1980s, his work became more meditative and restrained. From 1985 onward, however, he introduced more dynamic gestures, as seen in the ‘Conjunction 86-24’ series, which employed earthy tones such as ochre, white, and blue. This phase in his work combined the Korean aesthetic of negative space with Western material experimentation, establishing a unique visual identity in Korean abstract painting.


 
4. Expansion of Materiality and Gesture (1990s–2000s)

In the 1990s, Ha deepened his exploration of materiality and gesture, refining the compositional rhythm and structural balance of his paintings. Works from Conjunction 90 to Conjunction 99 display a heightened sense of material density and surface texture. He continued to experiment with the boundaries of monochrome painting, expanding its expressive potential through diverse material effects.

From the 2000s onward, Ha introduced a more varied color palette while maintaining the ‘bae-ap’ technique. He also developed the ‘Post-Conjunction’ series, incorporating wooden panels wrapped in hemp cloth and pressed with oil paint. This process blurred the distinctions between painting and sculpture, further extending the concept of ‘Conjunction’ into three-dimensional space.

5. Contemporary Expansion and ‘Post-Conjunction’ (2010s–Present)

In the 2010s, Ha Chong Hyun continued evolving his practice by introducing polychromatic elements, challenging the traditional confines of monochrome painting. Works such as Conjunction 21-38 (2021) and Post-Conjunction 21-201 (2021) exhibit a broader range of colors and compositional variations.

These works demonstrate his continuous renewal of painting methodologies in response to contemporary artistic dialogues.

In the ‘Post-Conjunction’ series, Ha integrated wooden blocks into his compositions, emphasizing materiality even further. This approach reflects the structural principles of traditional Korean architecture, reinforcing the distinct Korean sensibility present in his work. His evolving practice highlights the intersection of tradition and modernity, distinguishing his work from Western abstraction.

6. Ha Chong Hyun’s Artistic Legacy and Contributions

Ha Chong Hyun’s artistic practice extends beyond technical experimentation; he has fundamentally redefined the concept of painting. By uniting materiality, space, and physical gesture, he has solidified the distinct identity of Korean monochrome painting. His work traverses the realms of Eastern philosophy and Western abstraction, contributing a significant chapter to contemporary Korean art history.

Ha served as the president of the Korean Avant-Garde Association from 1964 to 1974, playing a pivotal role in leading Korea’s experimental art scene. He later acted as commissioner for the Cagnes International Painting Festival and the 43rd Venice Biennale. From 2001 to 2006, he served as director of the Seoul Museum of Art, actively promoting Korean art on the global stage. His major retrospective exhibitions include shows at the Gyeongnam Art Museum (2004), Mudima Foundation Contemporary Art Museum in Milan (2003), and the National Museum of Modern and Contemporary Art in Gwacheon (2012). His relentless experimentation and dedication as an educator have left a profound impact on Korean art history, ensuring that his artistic legacy will continue to be studied and celebrated in the years to come.