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In the 1970s and 80s Walters intensified the process by which his sources were rendered down into elemental forms.

His later works lean towards tightly painted geometric abstraction, in which pure shape and untextured brushwork further Walters’ translation of natural form into a purely abstract language.

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26 June – 28 July, 2018Seung Yul Oh is well known for whimsical art works that toy with scale and exist somewhere between spectacle and participation.

Incorporating painting, installation, sculpture, video, performance, and public art, Oh works seamlessly across media.

Early works teased the relationship between art work and space through scale: giant inflatables bulging promiscuously around corners and pillars, or protruding forms that demanded audiences negotiate space.

Now, Oh has turned the exploration of physical mass and empty space inwards, the new series creating what the artist calls “territorial boundaries of limited sections of space claimed by the frame.”Although the compositions are wall based and focus attention on extremities and internal voids, Oh isn’t finished with manipulating the audience’s movement through space.

A vital distinction from the logic and mathematically aligned Western movements was that Tansaekhwa focused on the meditative aspect of creating art, an approach of growth and layering rather than ‘emptiness’.

Born in Seoul, Korea in 1981, Seung Yul Oh moved to New Zealand to complete an MFA at Auckland University's Elam School of Fine Arts.

There’s also the exaggerated and hyperreal sculptures of Korean noodle dishes and cute animal forms rendered in gleamingly reflective fibreglass.

Running parallel to these playful art works is Oh’s painting, a formal and sometimes minimalist practice, which the artist has described as ‘musical’ and offering moments of balance and counterpoint.

He now divides his time between Auckland and Seoul.

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