In his 50-plus years of being an artist, Ha Chong-Hyun’s debut brand collaboration came with Dior in 2023 — a stark contrast to today’s artists who are hungry for product lines from the get-go.
A celebrated figure in the South Korean art scene — Ha has lived in Seoul since graduating from Hongik University in 1959 — the artist, 89, is known for his groundbreaking contributions to Dansaekhwa, or “monochrome painting.” Emerging in the 1970s with his iconic Conjunction series, Ha pioneered a radical technique: pushing paint through the hemp cloth canvas from the reverse side to create textured, abstract compositions.
This unique approach is a product of efforts to reconcile the influence of Western modernism on Korean artistic culture; a quest to challenge conventional painting and redefine the medium’s materiality. Through decades of artistic innovation, Ha has bridged Eastern philosophies with Western avant-garde traditions, solidifying his reputation as a transformative force in modern art.
In this Jing Daily Masterminds interview, Ha delves into his storied career, revealing insights into his creative process and the cultural underpinnings of his work, witnessing Seoul evolve into a pop culture hub. He also discusses his recent venture into brand collaborations in global luxury, such as with Dior and Ladyburn whisky, offering a glimpse into how he balances traditional artistry with contemporary commercial endeavors.
Jing Daily: How has having a career as an artist changed since the 1970s?
Ha Chong-Hyun: Every moment has been a continuous experiment for me, but especially the Conjunction series created in 1974 using a labor-intensive technique known as ‘back painting’ (bae-ap-bub) marked a decisive change. The method, which literally translates to ‘back pressure method,’ is a technique where I push oil paint through the coarse weave of the burlap canvas, from the back to the front. The burlap fabric is reminiscent of the wartime, where it was used for sandbags in trenches. I have been constantly exploring experimental methods that utilize both sides of the canvas. Through the act of painting or covering the surface with paint, I wanted to go beyond the concept of ‘painting’ and experiment with abstraction, which eventually became my signature style.
Another significant change was the founding of the Korean Avant-Garde Association (AG) in 1969 by artists and critics including myself, and we published the first issue of the journal AG capturing our philosophy, thoughts, and movements. I was the president, and the association is now recognized for playing a major role in leading the new wave of experimental art in Korea.
JD: When you started the association, how was avant-garde art viewed?
HCH: The avant-garde movement in Korea emerged as an aesthetic rebellion following the decline of abstract painting, which captured the political, social turmoil, and poverty of post-war Korea. In the 1960s, Informel painting, emphasizing the artist’s spontaneous expression, was dominant, and was already underway in the US, Europe, and even in Japan.
However, Korean avant-garde art was not simply an imitation of the West, but had its own unique language reflecting the political and social context of the time. For example, through works like Counter-Phase (1971),stacking censored newspapers alongside uncensored ones, or Relation 72-1 (1972), a wooden box with fraying ropes, I expressed the rigid social environment and the tension between the two Koreas.
JD: Your work has been a form of protest. What is your key inspiration nowadays?
HCH: I believe that my work was not only part of the Dansaekhwa movement, but also of the larger avant-garde movement. Back then, I was young and I wanted to raise my voice through art. One thing I have always maintained is that I’m not afraid of change, and I try not to follow others, but instead find my own path.
I’m constantly thinking about how to express things in my own language, explore composition, and expand my methodology. In that sense, I prefer to follow my inner resonance and voice rather than external sources of inspiration.
JD: Do you believe art is open to interpretation, or do you want people to see your work how you see it?
HCH: I want viewers to feel my work with their hearts rather than explaining it through words or language. When working, I push paint through the rough canvas, allowing one material to naturally flow between the gaps of another, which I believe is the material itself expressing something, not me.
Of course, my actions always intervene in the final stages of my work. Material and action are the essence of my art. Therefore, the only part I can speak to is my action, and the material tells its own story. I prefer not to say more beyond that.
JD: Has South Korea’s rise as a popular culture hub influenced your work?
HCH: The global attention paid to Korean culture and history is amazing, and it is incredible to see it become so popular. However, as I mentioned earlier, even before Korea became a hub for popular culture, Korean elements have always been an important part and spirit of my work.
Through the Conjunction series, I have used colors reminiscent of traditional Korean tiles or porcelain. Materials like barbed wire, springs, iron wire, and canvas are all connected to Korea’s dark period under military dictatorship, and that connection is undeniably Korean. Since around 2010, I started adding more vibrant colors to the Conjunction series, particularly using crimson inspired by traditional Korean patterns in architecture and musical instruments.
When I push paint through canvas, it flows, drops, and absorbs, changing in color, texture, and density. Even with a single color of paint, various hues emerge naturally during the process. Through experimenting with various colors, I sought to go beyond the Dansaekhwa framework that had long defined my work and reflect the flow of time.
JD: Prior to your new brand collaboration, had you wanted to create merchandise, or products out of your work?
HCH: I never particularly thought about it. However, the collaboration with Ladyburn on this project is deeply meaningful and significant to me.
JD: What made you want to work with Ladyburn?
HCH: I have always been fond of whisky — it is enticing in its regard to its association with time, how it matures and changes with the accumulation of time. Among many other brands, Ladyburn is very special for its rarity value, its persistence to maintain tradition and innovation together.
A painting is also an organic being that breathes air, that does not cease to communicate with the passage of time that it lives through. My experimentation of material, in particular my usage of paint, has been a portrait of such passage of time.
JD: How did you select the works that appear on the 10 bottles of Ladyburn?
HCH: I selected representative works from the Conjunction series that I created in the 1970s, and I chose to showcase the diverse world of my work through Ladyburn. I have always believed that experiencing my art is a physical experience. Since my works are very much about the interaction with materials, large canvases provide the most effective medium to visualize this.
I think that the selected works from the 1970s Conjunction series included in the Ladyburn Ha Chong-Hyun Edition will offer people a new way to experience and enjoy my art, as the series also coincides with the period that is marked with cultural invention, creativity, increased production and inventiveness in the whisky industry. I think the 1970s marked a turning point both for Ladyburn and myself. I’m curious to see how this collaboration, combining my work with a unique whisky landscape, will create a new connection and relationship with viewers.
JD: Do you have fond memories of working or travelling in China?
HCH: China’s long history, world-renowned cultural heritage and traditions, and respect for the arts and knowledge have always been fascinating and enriching for me.
JD: What do you do when you don’t have much work to do?
HCH: Honestly, I don’t think I have ever felt like I had nothing to do. My home and studio are located next to each other, so even on days when I’m not painting, I like sitting in my studio, or revisiting earlier works.
I recall forgotten memories, think about future projects, or read books. When my students, friends, or other artists visit, we usually meet in my studio. As I get older, I often find that my health doesn’t allow me to work as much, so it’s becoming increasingly frustrating that I spend more time resting at home.
JD: Having worked with Ladyburn this year, and Dior in 2023, do you plan to collaborate with more brands?
HCH: I don’t have specific plans at the moment, but if there is an opportunity to work with great synergy, I would be open to trying new collaborations.
JD: What’s next for you?
HCH: As long as my health permits, I want to continue my work. While working on the Conjunction series, I want to complete my life both as an artist and as a human being through the creation of new paintings.
—Sadie Bargeron
