Lee Ufan, a multifaceted artist, sculptor, writer, and philosopher, emerged as a pivotal figure in the late 1960s, distinguishing himself as both a theoretical and practical leader of the avant-garde Mono-ha (Object School) group. This movement marked Japan's first foray into contemporary art on the international stage, challenging Western precepts of representation by emphasizing the interplay between materials and perceptions over traditional expression or manipulation.
Mono-ha artists are renowned for their use of unrefined materials, presenting works that are minimally altered to underscore the essence of the materials themselves. In 1991, Lee Ufan initiated his series of "Correspondance" paintings, characterized by one or two deliberate grey-blue brushstrokes—crafted from a blend of oil and crushed stone pigment—against expansive white canvases. This minimalist approach extends to his "Relatum" sculpture series, where each piece typically features a juxtaposition of light-colored stones and dark, rectangular iron plates, exploring the philosophical dialogue between these elements. Ufan's work delicately balances the act of creation with the preservation of space, navigating the boundary between action and inaction. His art probes the dynamic between the painted and the unpainted, the occupied and the vacant, laying bare the core of his artistic inquiry.
Born on June 24, 1936, in Kyongnam, South Korea, Lee Ufan's academic journey encompassed studies in calligraphy, poetry, and painting at the College of Kyongnam and the University of Seoul. His profound contributions to art and philosophy continue to resonate, offering a contemplative perspective on the material and immaterial world.
