Conjunction 79-11 . 1979
+ Blum & Poe
Since the beginning of the 1970s, Ha has consistently explored the materiality of paint and the nature of canvas as more than a mere support. The artist uses a palette knife to push thick oil paint from behind the coarsely woven canvas so that it seeps through to the surface. He then brushes or smears the protruding paint, creating compositions that range from decisive sweeps to hazy, mist-like fields. As the artist described it, “The act of pushing, or the gesture of pressing has no relation at all to the act of drawing, which takes place on the canvas surface.” Ha seeks to “minimize fabrication” and to “eliminate the unnecessary.” In some cases, after pushing the paint through, Ha propped the canvas upright and physically struck the face of the canvas to cause paint to dribble down the surface, pulled by gravity and its own weight.
Blum & Poe
Conjunction 95-038 . 1995
Conjunction 09-52 . 2009
Conjunction 77-17 .1977
+ Blum & Poe
Since the beginning of the 1970s, Ha has consistently explored the materiality of paint and the nature of canvas as more than a mere support. The artist uses a palette knife to push thick oil paint from behind the coarsely woven canvas so that it seeps through to the surface. He then brushes or smears the protruding paint, creating compositions that range from decisive sweeps to hazy, mist-like fields. As the artist described it, “The act of pushing, or the gesture of pressing has no relation at all to the act of drawing, which takes place on the canvas surface.” Ha seeks to “minimize fabrication” and to “eliminate the unnecessary.” In some cases, after pushing the paint through, Ha propped the canvas upright and physically struck the face of the canvas to cause paint to dribble down the surface, pulled by gravity and its own weight.
Blum & Poe
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