Contemporary Art


                                              WHANKI KIM (1913-1974)
                                                       Untitled, 1963
                                                     Gouache on paper
                                        12 1/2 x 9 1/4 in. (31.7 x 23.4 cm)

EMERSON WOELFFER (1914 – 2003)
Spray paint, acrylic, and collage on canvas
29 x 24 in. (74.9 x 60.9 cm)

healing light #3
Healing Light #3
Acrylic on canvas
30 x 48 in (76 x 122 cm)

“Light has been the subject of Korean-born Su Kwak’s paintings from the beginning of her more than three decades of artistic endeavor, both as natural phenomenon and as a metaphor for the spiritual and ineffable…Her production is extremely personal – as she is quick to point out – even if its themes are eschatological, visionary. In many ways, they function as a meditation and a prayer, a talisman and an offering, a deeply felt search for meaning and spiritual redemption through art…[Her] recent body of work has affiliations to works such as Blake’s heavenly visions, Turner’s roiled seascapes and Constable’s cloud studies (the latter two verging on pure abstraction), and more recently to Dorothea Rockburne’s vividly colored, cosmological images. Mondrian, Newman, and Rothko are also sources, to name only a few modernist artists of the spiritual…The spaces that she creates in her work encompass the poetic, conceptual measures of Asian landscape paintings…One of the artist’s many strengths, which includes a rare, non-ironic sincerity, is her ability to shift from small to great, to make a stream or a river the equivalent of a star-studded galaxy, sparkling with light, reminding us that we are all stardust. ‘For me,’ Su Kwak said, ‘light and life are the same.’”
– Lilly Wei, New York-based art critic for Art in America
Excerpted from “Fiat Lux: the Art of Su Kwak”

Read the artist’s bio here.

PI’s window, 2006
Signed and dated Tchah Sup 06
Acrylic and Chinese ink on canvas
16 x 50 in (40.7 x 127 cm)

Kim took his subject—fields of harsh stones—from photos he took before he left Korea for the United States in 1974. He used them first for his silkscreen print “Situation” in 1970, before adapting it to paintings. His recent work explores the symbolic relationship between the natural world and (pi), a transcendental number used to express ratios in mathematics, physics and chemistry. Read the artist’s bio here.

CHO TAIKHO (B. 1957)
Untitled, 2014
Signed and dated Taikho
Acrylic on canvas
56 1/4 x 37 1/4 in (142.9 x 94 cm)

CHO TAIKHO (B. 1957)
Light 1, 2016
Acrylic on canvas
38.2 x 57.5 in (97 x 146 cm)

Read the artist’s bio here.