ART–DAN–YUN

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Material Intelligence

Gravity as devotion

ART–DAN–YUN

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Gravity as devotion

ART–DAN–YUN

Gravity as devotion

Index Code:

ART–DAN–YUN

Orgin:

Cheongju, Korea

Field Notes:

Color becomes prayer • reduction becomes faith

Defining Moment:

1970s—Dansaekhwa works established a spiritual minimalism of tone and weight

Yun Hyong-keun

(

1928–2007

)

yoo-koh shee-rye-shee

Yun distilled painting to indigo, umber, and linen.

His vertical bands descend like pillars — earth meeting sky — revealing color as a devotional act shaped by discipline and memory.

Structural Focus

Reduction with Atmosphere

Form is reduced without becoming cold or purely rational. Minimal means are used to produce calm, resonance, or emotional density.

In Yun Hyong-keun’s work, this approach appears where gravity and pigment define surface.

Position

Reduction with Atmosphere

Form is reduced without becoming cold or purely rational. Minimal means are used to produce calm, resonance, or emotional density.

In Yun Hyong-keun’s work, this approach appears where gravity and pigment define surface.

Chromatic Fields

Color fields operate as spatial and structural organizers.

Systems of Clarity

Order and coherence arise through disciplined systems and constraints.

Structure holds the work through rules, joins, and controlled relationships between parts.

Material behavior governs form through weight, resistance, and constraint.

Form operates as a site for material, perceptual, and conceptual inquiry.

Repetition and material restraint generate surface through duration and labor.

Monochrome Painting

Single-color fields intensify surface, material, and perception.

Observartory

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Structual Relations

The following practices are connected through shared structural decisions in form, material, and spatial logic.

Pressure as form

Repetition as calm

In Dialogue

Repetition as ritual

Relation as structure