O Yoon

2.1. Early Life and Family Background

Oh Yoon was born on April 13, 1946, in Nakmin-dong, Dongnae-gu, Busan, South Korea. He was the eldest son of the renowned novelist Oh Young-su. During his early childhood, he lived in Sujeong-dong, Dong-gu, Busan, in a residence near Gyeongnam Girls' High School, where his father taught art. Following the Korean War, in 1952, he enrolled in Sujeong National School but transferred to Suseong National School in 1953 due to the influx of refugees. In 1955, after completing the fourth grade, his family moved to Donam-dong, Seoul, where he transferred to Donam National School. Oh Yoon was known for his quiet and introverted personality throughout his middle and high school years. During this period, he became acquainted with the influential poet Kim Chi-ha through his elder sister, Oh Sook-hee. His artistic inclinations were significantly influenced by his family background, particularly his grandfather and uncle, who were masters of the Dongnae Crane Dance, a famed Korean traditional dance originating from Dongnae, Busan, known for its graceful imitation of crane movements.

2.2. Education and Early Artistic Development

After graduating from high school in 1964, Oh Yoon dedicated a year to re-study before gaining admission to the Department of Sculpture at Seoul National University's College of Fine Arts in 1965. In 1968, he took a leave of absence from his studies to embark on a solo journey across Korea, which likely broadened his perspective and artistic sensibilities. Upon returning to the university in 1969, he collaborated with fellow students and alumni, including Oh Gyeong-hwan and Lim Se-taek, to form the "Reality Group." This collective advocated for a new wave of realism in art. In a significant move, he co-authored and announced the "First Declaration of the Reality Group" alongside Kim Chi-ha, signaling their commitment to art that reflected societal realities.

2.3. "Reality and Speech" and the Realism Movement

Oh Yoon was a pivotal figure in the "Reality and Speech" (현실과 발언_{Hyeonsil-gwa Bareon}^Korean) artists' movement, a collective of young writers and artists dedicated to expressing the social suppression prevalent in Korean society. His involvement began with the formation of the "Reality Group" in 1969, which laid the groundwork for the broader realism art movement. In November 1979, he became a founding member of "Reality and Speech," actively participating in its activities and quickly becoming a symbolic presence within the 1980s people's art movement. The group's primary objective was to use art as a means of social commentary and to challenge the prevailing political and social contradictions of the time.

2.4. Military Service and Post-Service Activities

After graduating from Seoul National University in August 1970, Oh Yoon enlisted in the military in 1971 for his mandatory service. However, his service was cut short due to health issues; his stomach illness worsened, requiring surgery, and he was honorably discharged in 1972. Following his discharge, Oh Yoon sought practical artistic experiences. He worked at a brick factory in Gyeongju, Gyeongbuk Province, alongside Yoon Gwang-ju and Oh Gyeong-hwan. During this time, he delved into studying traditional clay-handling techniques that dated back to the Silla period. He later continued this work at a brick factory operated by Lim Jin-taek in Ilsan, Gyeonggi Province, collaborating with Jo Geon-yeong. In 1976, he produced illustrations for Cheongnyeonsa, a company established by Han Yun-su, and undertook field trips to significant natural sites such as Jirisan and the Hantangang River, further enriching his artistic perspective.

2.5. Marriage and Family Life

In 1977, Oh Yoon married Park Myung-ja, and they established their home in Suyu-ri, where they lived with his in-laws. The couple had two sons. In March 1977, Oh Yoon briefly took on a role as an art teacher in the fine arts department at Sunhwa Arts High School, a position he held for a few years. His family life provided a personal grounding amidst his burgeoning artistic and social activism.

2.6. Later Years and Health Decline

From 1980 to 1983, Oh Yoon continued to participate in the "Reality and Speech" group exhibitions. In 1982, he co-founded the Seodaemun Art Academy with Seok Hyeong-san and Kim Ho-deuk, where he taught sculpture. Oh Yoon's health began to deteriorate significantly in his later years, primarily due to frequent alcohol consumption and smoking. In July 1983, he was hospitalized for cirrhosis at Goryeo Hospital. Although he was discharged in August and attempted to recover through traditional folk remedies, his health worsened again in October 1984, prompting him to seek recuperation in Jindo County. He returned to Seoul in March 1985. On May 3, 1986, Oh Yoon held his first and, tragically, his last solo exhibition. He also published his woodprint collection, Kalnorae (Song of the Sword), and was actively preparing his studio. However, his life was cut short when he died suddenly on July 5, 1986, at the age of 40.

3.1. Artistic Philosophy and Influences

Oh Yoon's core artistic philosophy centered on the social function of art, aiming to connect traditional Korean aesthetics with contemporary national art. He conducted extensive research into various forms of traditional Korean folk culture, including Minhwa (folk painting), shamanic paintings, Buddhist paintings (such as Gamro-taeng), Talchum (mask dance), and Gut (shamanic rituals and exorcisms). He sought to sublimate these indigenous forms into a modern national art, believing they held the essence of the Korean spirit and could effectively convey the collective emotions of the people. A central concept in his work was Han, a uniquely Korean sentiment of deep sorrow, resentment, or grief, which he expressed through the lives of commoners in his woodprints.

3.2. Key Themes and Expressive Techniques

Oh Yoon's art primarily depicted the lives, joys, sorrows, and the profound sense of Han experienced by ordinary people. He conveyed these themes through a distinctive expressive technique characterized by sharp, powerful lines, often referred to as 'kalmat' (칼맛^Korean, literally "knife-like taste"). This 'kalmat' allowed him to achieve an exceptional unity of form and content, expressing humor, popular exuberance (신명_sinmyeong^Korean), and the deep-seated 'Han'. His woodprints, in particular, became a prototype for people's printmaking, utilizing strong lines and forms borrowed from traditional Korean folk paintings and genre paintings to capture the raw emotions and struggles of the populace. Works like Nodong-ui Saebyeok (Dawn of Labour) vividly portray the weary backs of laborers, while pieces such as Kalnorae (Song of the Sword) and Bukchum (Drum Dance) capture the tired yet resilient lives of workers and commoners through their rough black and white lines and sturdy human figures.

3.3. Representative Works

Oh Yoon created a diverse body of work, including woodprints, watercolors, oil paintings, illustrations, sculptures, and masks, which were showcased in various forms, including banners and books.
His sculptural contributions include interior and exterior wall murals and exterior wall decorative terracotta, both created in 1974 for the Commercial Bank's Guui-dong and Dongdaemun branches, respectively.
Among his most significant woodprints are:

• Seosaramdeul (세상사람들^Korean, People of the World)
• Daeji (대지^Korean, The Land) series, which often depicts a mother protecting her child.
• Nodong-ui Saebyeok (노동의 새벽^Korean, Dawn of Labour), known for portraying the weary backs of laborers.
• Kalnorae (칼노래^Korean, Song of the Sword), which captures the difficult lives of laborers and commoners with its rough black and white lines and sturdy human figures, often expressing the exuberance of traditional dance movements and the intricate rhythm of background knife lines.
• Bukchum (북춤^Korean, Drum Dance)
• Aengjeokga (앵적가^Korean, Song of the Oriole)
• Wonguido (원귀도^Korean, The Lemures), a powerful work symbolizing modern Korean history through images of skeleton soldiers and dismembered figures.
• Dokkaebi (도깨비^Korean, Goblin), along with Kalnorae, expresses realms dominated by exuberance and shamanism, often depicting energy rising from the head.

His final major oil painting was Tongil Daewondo (통일대원도^Korean, Great Painting of Unification).

3.4. Evolution of Artistic Style

Oh Yoon's artistic style underwent a notable evolution throughout his career. Initially, until around 1983, he predominantly created black and white woodprints, characterized by their stark contrasts and powerful linear expressions. From 1984 onwards, he began to introduce simple, decorative colors into his works, marking a shift in his aesthetic approach. His later series, such as Marketing, demonstrated a more experimental and unconventional approach, blending elements from Buddhist paintings like Gamro-taeng, collage, and kitsch mosaics. This period saw his work connecting with Western modernism and Pop art, reflecting a dynamic creative process that allowed him to explore new forms and expand his artistic language beyond traditional printmaking. He also incorporated themes from Gut (shamanic rituals) into his works, expressing the rhythmic movements of dancers and connecting them with Buddhist painting concepts, collage, and mosaics.

4.1. Role in the People's Art Movement

Oh Yoon holds a significant place as a symbolic figure in the South Korean "People's Art" movement of the 1980s. His art provided a powerful voice for the common people, reflecting their daily lives, struggles, and aspirations during a period of intense political repression and social change. His distinctive woodprints, with their raw energy and focus on the human condition, became a prototype for the genre, shaping the ethos and development of the movement. Through his work, he emphasized art's crucial role in social commentary and its ability to reflect and influence societal realities, thus contributing profoundly to the artistic landscape that accompanied South Korea's transition to democracy.

4.2. Artistic Activities for Democratization

Oh Yoon actively participated in supporting democratic movements through his artistic creations. He produced woodprint illustrations for politically charged literary works, such as Kim Chi-ha's poetry collection Ojeok (Five Thieves) and Lee Won-su's traditional fairy tale collection Ttangsonnara Dodukgwisin (Thief Ghost in the Underground Country). Beyond illustrations, he created political posters and large-scale banners that were used in various protests and struggles advocating for social change and political reform. His visual works served as powerful tools of advocacy, contributing directly to the broader efforts for democratization in South Korea.

5.1. Posthumous Recognition and Exhibitions

Oh Yoon's works initially failed to gain widespread attention during his lifetime. However, after his death, his art underwent a significant re-evaluation and began to receive growing recognition, particularly from the 2000s onwards, as he was re-evaluated as an icon of the people's art movement of the 1980s. Major retrospective exhibitions have been organized to showcase his contributions, including a notable exhibition at the National Museum of Modern and Contemporary Art, Korea (formerly National Museum of Contemporary Art) and the Ghana Art Center, which commemorated the 20th anniversary of his death. In 2010, a complete collection of Oh Yoon's works was published, a collaborative project that notably included the participation of the well-known poet Kim Chi-ha, further bringing his art to wider attention and critical acclaim.

5.2. Awards and Honors

Oh Yoon's significant contributions to Korean art have been recognized posthumously. In 2005, he was awarded the Ok-gwan Cultural Merit Medal, a prestigious honor from the Republic of Korea, acknowledging his profound impact on the nation's cultural landscape.

6.1. Contribution to Korean Art

Oh Yoon is widely regarded as a pioneer of modern printmaking in South Korea and a key figure in the development of both Korean folk art and the broader people's art movement. His deep research into traditional Korean folk culture, including Minhwa, shamanic paintings, Buddhist paintings, Talchum, and Gut, and his successful integration of these elements into a contemporary national art form, significantly shaped the discourse around art's connection to national identity. By creating woodprints that became a prototype for people's printmaking, expressing the lives, sorrows, and anger of the common people, he redefined art's social role and its capacity for profound social commentary.

6.2. Influence on Subsequent Artists

Oh Yoon's artistic spirit, characterized by its commitment to social issues and its unique expressive techniques, has left a lasting influence on later generations of Korean artists and art movements. His pioneering approach to socially engaged art, particularly his use of traditional forms to address contemporary social and political realities, inspired new methodologies and perspectives among artists who followed him. His legacy continues to encourage artists to explore the intersection of art, society, and national identity, fostering new approaches to socially conscious artistic creation.

7.1. Major Books and Publications

Key books and monographs published about Oh Yoon's life and artistic contributions include:

• Kalnorae: Oh Yoon Panhwajip (Song of the Sword: Oh Yoon Woodprint Collection) (1986), by Oh Yoon, published by Geurimmadang-Min.
• Oh Yoon Dongnesaram Sesangsaram (Oh Yoon: Neighborhood People, World People) (1996), an editorial collection commemorating his 10th anniversary, published by Hakgojae, ISBN 9788985846172.
• Oh Yoon: Huimang-eul Saegin Panhwaga (Oh Yoon: Printmaker Who Carved Hope) (2005), by Seong Wan-gyeong and Heo Jin-mu, published posthumously by Namusup, ISBN 898900425X.
• Oh Yoon: Natdokkaebi Sinmyeongmadang (Oh Yoon: Day Goblin's Exuberant Yard) (2006), by Oh Yoon, published by Culture Books, ISBN 9788992074155.
• Oh Yoon: Han-eul Saengmyeong-ui Chum-euro (Oh Yoon: Han into a Dance of Life) (2007), by Kim Mun-ju and Oh Yoon, published by Democracy Movement Memorial Association, ISBN 9788991057326.
• Oh Yoon: Kal-eul Jwin Dokkaebi (Oh Yoon: Goblin Holding a Knife) (2010), by Oh Yoon, published by Hyeonsil Munhwa Yeongu, ISBN 9788992214919.
• Oh Yoon: 3115, Nal Geot Geudaero Ui Oh Yoon (Oh Yoon: 3115, Oh Yoon as He Is) (2010), by Oh Yoon, published by Hyeonsil Munhwa Yeongu, ISBN 9788992214926.

7.2. Major Collections

Significant collections of Oh Yoon's artwork are held in prominent museums and institutions, reflecting the institutional recognition of his contributions to Korean art history. These include:

• National Museum of Modern and Contemporary Art, Korea
• Ghana Art Center