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Changha Hwang at Massimo Audiello
Art in America, Nov, 2005 by Calvin Reid
In his second show at Massimo Audiello, Korean-born, New York-based Changha Hwang presented complex, large-scale abstract paintings containing a multiplicity of candy-colored grids, painterly squares and rectangles, and planes of vibrant, flat color that lie atop one another and across the picture field, creating a sense of depth by layering. The resulting striations and interlocking grids create dense patterns, the flat planes of color serving as a foundation for the works' pictorial architecture. The paintings (all 2004, acrylic on canvas) are tightly composed, each element playing a role in an expansive network. Throughout the compositions, variously sized areas offer distinctive rippled hues in different colors and shades, invoking an almost photographic character reminiscent of the work of painters such as David Reed and Gerhard Richter.
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In addition to their formal intricacy, these striking abstractions produce metaphorical allusions to the digital matrix: alternating outbursts of coherent data and system noise crackling through the nodes of some giant pulsing electronic network. The bands and blocks of flat color suggest pixelation, but the paintings offer an even stronger sense of the digital broadcast stream that courses through our conscious and unconscious lives.
Hwang approaches each of his works in the same way, and his busy compositions are somewhat formulaic. But each painting has its distinctive chromatic personality, and each seems to offer a signature element--a small white-overdark screen in Flashlight, or heavy articulated hues along the upper edges of Liquid Iron--that serves to salvage a unique identity out of Hwang's barrage of line, form, color and space.
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