Woo Jong Taek

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Works
  • Woo Jong Taek, Qi-One Stroke #10, 2026
    Woo Jong Taek
    Qi-One Stroke #10, 2026
    Mixed Media on Korean Traditional Paper (Hanji)
    83 x 55 in
    210 x 140 cm
  • Woo Jong Taek, Qi-One Stroke #11, 2026
    Woo Jong Taek
    Qi-One Stroke #11, 2026
    Mixed Media on Korean Traditional Paper (Hanji)
    83 x 55 in
    210 x 140 cm
  • Woo Jong Taek, Qi-One Stroke #12, 2026
    Woo Jong Taek
    Qi-One Stroke #12, 2026
    Mixed Media on Korean Traditional Paper (Hanji)
    83 x 55 in
    210 x 140 cm
  • Woo Jong Taek, Qi-One Stroke #2, 2026
    Woo Jong Taek
    Qi-One Stroke #2, 2026
    Mixed Media on Canvas
    64 x 52 in
    162x 132 cm
  • Woo Jong Taek, Qi-One Stroke #3, 2026
    Woo Jong Taek
    Qi-One Stroke #3, 2026
    Mixed Media on Canvas
    64 x 52 in
    162 x 132 cm
  • Woo Jong Taek, Qi-One Stroke #4
    Woo Jong Taek
    Qi-One Stroke #4
    Mixed Media on Canvas
    64 x 52 in
    160 x 132 cm
  • Woo Jong Taek, Qi-One Stroke #6, 2026
    Woo Jong Taek
    Qi-One Stroke #6, 2026
    Mixed Media on Korean Traditional Paper (Hanji)
    83 x 55 in
    210 x 140 cm
  • Woo Jong Taek, Qi-One Stroke #7, 2026
    Woo Jong Taek
    Qi-One Stroke #7, 2026
    Mixed Media on Korean Traditional Paper (Hanji)
    83 x 55 in
    210 x 140 cm
  • Woo Jong Taek, Qi-One Stroke #8, 2026
    Woo Jong Taek
    Qi-One Stroke #8, 2026
    Mixed Media on Korean Traditional Paper (Hanji)
    83 x 55 in
    210 x 140 cm
  • Woo Jong Taek, Qi-One Stroke #9, 2026
    Woo Jong Taek
    Qi-One Stroke #9, 2026
    Mixed Media on Korean Traditional Paper (Hanji)
    55 x 83 in
    140x 210 cm
Biography

Woo Jong-Taek (b. 1973, Yongin, Korea) is a Korean contemporary painter whose practice explores the philosophical and material continuities between traditional Korean ink painting and contemporary abstraction.

 

Drawing upon the meditative principles of sumukhwa (ink-and-wash painting), he moves beyond its conventional representational language through an experimental approach to material and gesture. Combining ink, charcoal powder, rosin, and white clay, Woo constructs deeply textured surfaces that evoke the elemental processes of nature and the passage from material substance to form.

 

Rooted in the concept of Memory of Origin, his work considers nature not as a subject to be depicted, but as a generative force underlying existence. Through the interplay of physical immediacy and contemplative restraint, Woo extends the philosophical foundations of East Asian painting into a contemporary visual language, positioning abstraction as a means of engaging with the primordial relationships between matter, time, and being.