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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.Like much of his vastly diverse practice, an element of autobiography runs through Seung Yul Oh’s practice.

The presentations will include a major koru painting along with other koru works on paper, but will focus more on Walters’ late-career geometric and transparency paintings.

Gordon Walters is a master of modernist abstraction.

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Made from cylindrical rods and rectangular sections of timber, these works exist as an outline of form. Titled , the series is reminiscent of the late 1950s/ early 60s post-painterly abstraction movement, which critic Clement Greenberg characterised as linear in design, bright in colour, lacking in detail and incident, and open in composition.

Exploiting the expressive power of colour, Oh’s reductionist and geometric compositions allow both vivid contrast and subtle nuance of tone.In early works, Walters’ created configurations in which often curvilinear forms seem to jostle against each other.However the later paintings offer a strict geometry and shapes that butt up against each other, powerfully claiming their place on the canvas, yet with a delicacy of vision achieved through careful chromatic and structural shifts.“I’m interested in the relationship between colours, how they sit side by side, the tension or rhythm they create. This clash, or harmony, generates a dimension of dialogue when they’re placed next to each other” he comments.Intriguingly the artist also sees his colour selections as creating time and space.He now divides his time between Auckland and Seoul.

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