In the early 1970s, South Korean artist Ha Chong-Hyun pioneered an innovative painting method that challenged conventional techniques by applying oil paint to the back of a fabric surface rather than the front. Using coarse hemp cloth stretched on frames, Ha pushed thick oil paint through the weave of the fabric, creating textured impressions on the canvas's front side, which he then manipulated with handmade tools to simulate brushstrokes. This approach, known as the “back-pressure method” or bae-ap-bub in Korean, has become Ha’s signature technique throughout his long career.

Ha, now 91, has consistently explored this method in a series of works titled "Conjunction," a name reflecting his concept of merging artist and material. Each piece is numbered according to its creation date, marking a decades-long evolution of the practice. His work, characterised by restrained colour palettes—often neutral or muted tones such as white and brown—has been described as revolutionary in its innovation. Max Bossier, director of London’s Lisson Gallery, which is staging an exhibition of Ha’s work from September 24 to November 7, notes the uniqueness of the technique in the global art context.

Born in 1935 in Sancheong, Korea, during Japanese colonial rule, Ha’s early life was marked by upheaval including a harrowing sea journey back to Korea after liberation in 1945. The trauma and political turmoil of his formative years—including the Korean War and the country’s subsequent military dictatorship—influenced his artistic development. Ha’s turn to abstraction aligned with a broader movement of Korean artists in the 1970s, later termed Danseakhwa or “monochrome painting,” which rejected figurative art styles favoured by state authorities and embraced simplicity of form and material. Ha’s contemporaries in this movement include Lee Ufan and Park Seo-Bo, whose works have garnered increasing international recognition over the past two decades.

Ha’s use of hemp as a canvas was initially driven by economic necessity; postwar scarcity made conventional materials difficult to obtain, so he repurposed grain sacks and other relief fabrics as painting supports. Over time, his practice has evolved to incorporate new elements such as singeing paint surfaces with flame, substituting wooden slats for hemp, and expanding his colour range to include vibrant reds and blues, particularly since 2010. Throughout, Ha has emphasised experimentation and continuous discovery rather than repetition.

Ha’s long career reflects a blend of innovation rooted in historical circumstance and a commitment to artistic exploration. His works demonstrate a dialogue between materiality and abstraction, shaped by the political and cultural context of modern Korea. Alongside the upcoming Lisson Gallery show, Ha’s work will also be featured in his first North American museum retrospective later this year at the Asian Art Museum in San Francisco, marking a further milestone in international appreciation of his contribution to contemporary art.