Exhibition Information

Landscape - structure#1(corsica)
2019 [출처] 이화익갤러리 홈페이지 Acrylic, oil on canvas 182x227cm

Landscape - structure#5 (corsica)
2020 [출처] 이화익갤러리 홈페이지 Acrylic, oil on canvas 150x105cm

Landscape - structure#10 (corsica)
2020 [출처] 이화익갤러리 홈페이지 Oil on canvas 33x24cm

			Find the true structure of the landscape.

Writer Ha Ji-hoon's work gives the impression that the vertically raised island or mountain has a narrow structure based on a stable and solid horizontal ground. Paint is thickened and sometimes light and transparent by brush strokes. Many viewers and critics enjoy the visual tension that Ha Ji-hoon's work creates at the boundary between abstraction and composition. But you can't look at the poetic games that take place inside. 

Ha Ji-hoon paints landscapes. But it's not reappearance. The landscape is structured and shaped into a heavy mass. If teacher Michael Van Offen structures the afterlife of individualism and traditional narratives at the boundary between abstraction and conception, Ha Ji-hoon throws a fundamental question about the visual act of "see." What is 'see'? Western landscape painting is a fixed point. Draw an absolute, immovable, fixed, and geometrically promised virtual line, and insert a visible object in it. But we can't enjoy that point.
 Writer Ha Ji-hoon breaks down our view. Reorganize and rearrange the problems of our perspective based on the root. The ever-changing views and points of the mountains that the eyes have seen meet the steps, movements, hand movements and gestures, creating a sense of explosion and a shift of emotion. This holistic feeling cannot be expressed in photographs and fixed-time landscape paintings. Therefore, the overall feeling of our traditional landscape paintings when meeting the landscape is more sincere than the fixed-time landscape paintings developed by the West. Ha Ji-hoon's landscape structure is not a landscape painting expressed by eye. It is a landscape painting that combines temperature, color temperature (body, substance), water temperature (perception, feeling), room temperature (surface, thought), hang temperature (desire, will), and food temperature (mind, consciousness). 

Lee Jin-myung, some excerpts from art criticism [Source] Lee Hwa-ik Gallery homepage