Sun Gallery is honored to present "Festival" Revisited: Expression, Color, Abstraction... and Beyond, a retrospective dedicated to the late master of Korean abstract art, Lee Doo-shik (1947–2013).
Spanning four decades of artistic evolution, the exhibition traces his trajectory from the early Surrealist series Origin of Life to his iconic Festival series—brimming with the dynamic energy of Obangsaek (traditional Korean cardinal colors)—and finally to the serene and minimalist Images series of his later years.
The title, "Festival" Revisited, pays homage to the series Lee championed for over 25 years, signaling a reunion with an artistic world that had seemingly stood still since his sudden passing.
The subtitle, Expression, Color, Abstraction... and Beyond, inherits the spirit of his final 2013 exhibition at the Hongik Museum of Art while adding a layer of posthumous reflection and rediscovery.
Lee Doo-shik’s body of work is historically categorized into three distinct periods.
The first phase, spanning from 1968 to 1975, was a period of early experimentation characterized by the fusion of Informel and geometric abstraction.
The second phase, from 1975 to 1987, was defined by the Origin of Life series, where he utilized Surrealist and Hyper-realist techniques to express primal human instincts.
The third phase, from 1988 until his passing in 2013, represents the pinnacle of his career through the Festival and Jan-chit-nal (Banquet) series.
These works are marked by a unique blend of figuration and abstraction, brought to life through intense primary colors and bold, uninhibited brushwork.
Inspired by the vivid primary colors found in the traditional ceremonial objects of Korea’s rites of passage, Lee observed that despite a history of hardship and invasion, the Korean people maintained an incredibly vibrant banquet culture.
He employed "Hot Abstraction" with daring primary colors to comfort and uplift the spirits of modern audiences, believing that the pursuit of joy was a universal language.
Lee adhered to a strict creative discipline, refusing to pick up a brush if he was in a bad mood, intoxicated, or physically unwell, as he sought to transmit only positive energy to the viewer.
His routine involved meditation in the clear silence of dawn, and his lifelong ambition was to create ten thousand works.
In 2011, he transitioned toward a more restrained aesthetic with the Images series, stripping away the intense colors of his banquets in favor of clarity and simplicity.
The relationship between Lee Doo-shik and Sun Gallery began in 1988 when he received the Sun Art Award.
Following a series of significant exhibitions—including his final solo show at the gallery in 2012, just a year before his passing—this retrospective is a heartfelt collaboration organized by those who remember and cherish his legacy.
The exhibition features a total of 60 works, including the early Origin of Life series, the representative Festival and Jan-chit-nal paintings, the late-period Images series, and various drawings.
It offers a rare opportunity to view the complete artistic trajectory of a man who believed art should always be a celebration of the human spirit.
