(1919 - 1988)
Insik Quac was active/lived in South Korea. Insik Quac is known for painting.
Biography from K Auction
As one of the pre-war generation of Korean abstract painters, Quac InSik (1919–1988) established a foundation for Dansaekhwa, or Korean monochrome art, movement. Born in Daegu, South Korea, Quac graduated from Nihon University, College of Art in Tokyo, and developed his career as an artist mainly in Japan. Quac has also shown his vigorous engagement in the international art scene of his time: the events he participated in include the São Paulo Biennial in 1969 and the Sydney Biennial in 1976.
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Throughout his subjects, which range from his earlier three-dimensional works to Plane, Paper series during the late 1970s and 1980s, his central goal was to deconstruct the boundaries between surface and structure, the external and the internal, and even between surface and surface, in a request to resolve the binary relationships.
Quac’s earlier works include a wide range of practices, such as avant-garde experimental works, combining heterogeneous objects of wire, rocks, paduk stones, plaster, sheet metal, glass and wooden panels with canvas.
From the 1960s, he increasingly engaged with Mono-ha (“School of Things”), the artistic tendency that explores the materiality and its transcendence. From the late 1960s to 1970s, Quac presented works that could be considered as extensions of Monoha, including numerous holes in stones, paper, or sheet metal and carved lines along the circumference of round stones.
In the 1970s, his discovery of the Japanese style of paper Washi led to the birth of his signature style – countless dots in oval shapes overlapping or repeating themselves on the translucent paper in a primal revelation of the beauty and mutual dependence between the physical properties of paper and real objects.
This, at the same time, creates a mysterious sense of tension, as the vibrant colors fill the picture-plane with a painterly magnetic field. This explains the reason why Lee KyungSung, the former director of the National Museum of Contemporary Art in Korea, remarked that Quac’s works “have strange force that seizes one’s mind”.
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