Deconstructing the Canvas: Sangho Han's "Circle, orange, white, green and graphite line"
Apricus Art Collection presents a dynamic exploration of abstraction and material interplay with Sangho Han's "Circle, orange, white, green and graphite line." This piece offers a glimpse into the artist's ongoing investigation of the relationship between drawing, painting, and sculpture, challenging traditional boundaries and embracing improvisation.
A Hybrid of Form and Expression
Han's work defies easy categorization, existing at the intersection of painting and sculpture. "Circle, orange, white, green and graphite line" exemplifies this approach, showcasing a composition built from joined canvases and woods, treated with acrylics, pencils, and house paint. This unique process allows Han to experience painting and sculpture simultaneously, constantly rearranging and recontextualizing elements to create a dynamic and evolving artwork.
A Continuation of Abstraction's Legacy
Deeply influenced by the history of abstraction, from Kandinsky to Twombly and Golub, Han sees his art as a continuation of this lineage. He seeks to transcend personal expression, instead striving to contribute to the ongoing evolution of abstract language.
About the Artist: Sangho Han
Born in Seoul, South Korea in 1991, Sangho Han currently resides and works in Long Island City, NY. He holds a BFA from Gachon University (2016) and an MFA from the School of Visual Arts (2023). Han believes that "the image (or painting) is an object that must be destroyed at the moment that it is created," reflecting his embrace of the rough, improvisational quality in his art. His work seeks an authentic voice that is neither traditionally Korean nor Western, but a hybrid of contemporary and modern styles.
Han's Artistic Vision:
Han's statement provides further insight: "Paintings are all connected... like Federico Fellini's 8 and 1/2, like Honore de Balzac's the human comedy, I tried to understand everyone I met in my life. And the attempts always failed... I'm a painter who is interested in the history of abstraction...The figures drawn on the woods are a psychological anecdote of the people I have experienced in New York, and also it is self-portrait."
