“A student of calligraphy, Suh and his [avant-garde] compatriots were intent on forging an experimental, distinctly Korean form of ink painting, eschewing the Japanese techniques that had held sway during its colonial rule of the peninsula, which ended in 1945. They were in dialogue with American and European postwar abstract painting movements such as Art Informel, while spurning their tools, unlike many of their Korean contemporaries.” – ARTnews