Cho Yong Hwa

e-mail: choyonghwa@hotmail.com

 




Artist Cho Yong Hwa (born in Seoul in 1961) has lived in Buenos Aires for twenty seven years. He became artistically educated here, he raised a family and developed a body of work that has made him acknowledged, mainly, in the filed of printmaking.

With his engravings he has carried out one-person exhibitions and has participated in group shows; he has even represented our country abroad. His work as an engraver is characterized by an outstanding expressive refinement with a certain contained gesture-like style, developed preferably, through abstract shapes.

In the last years he has overturned towards painting, though not leaving ¿because of it¿ the work that has given him a place of merit as an engraver. This circumstance has lead to an image twist, as it generally occurs, when a modification in the expressive media is produced. Therefore, that which was more contained in engraving, has liberated itself in painting.

Cho Yong Hwa has now acquired great freedom of expression, with figurative fragmented references, that highlight a gesture-like impulse, establishing a strong, dislocated and dissociated image, that corresponds to itself, in the symbolic and affective level, with quite current experiences of our sensibility.

The little horse of the infant-like calash, appears once and again in the artist¿s paintings, not yet from the idealized and illusory view of a child, but from the disenchanted symbol of the adult that perceives a world with all it¿s harmonies broken. His image is thus closer to that of the oriental dragon and becomes threatening and enigmatic.

A vibrant color, that outbursts leaning upon several signs that were already in the engravings, accentuates the rupture and its fragmentation. Open shapes predominate, as a result of the figure¿s blast. A more peaceful view of the world has gone to leave us, instead, with a view towards our more current and disquieting life experiences.

As in every expressionism, unconsciousness is latent on the surface. In Cho Yong Haw¿s paintings there is a humanist battle that addresses the real and collides with wall of the virtual, unavoidably leaving man on it¿s own.

Into the calash, things turn around, come and go, resulting in the transmigrated return of the same thing, as viewed by Nietzsche in a foreseeing way.

When deforming what is visible in a pictorial way, the artist faces, not without a certain existential anguish, the search for the real from his own passionate and original visual statement.