Dong-A Ilbo (April 1, 1990)
“Artists Forged in the ‘Soil of East Asia’”
This feature highlights a new generation of artists emerging through the Dong-A Art Association (동아미술제) over the past 30 years.
JoongAng Ilbo (Apr 17, 1991)
Kim Tae-ho Solo Exhibition (after 6 years)
Kim Tae-ho presents ~30 recent works, marking a shift toward material-based abstraction. Using hanji (Korean paper), he explores layering, texture, and process, moving beyond earlier structural systems while maintaining underlying formal discipline.
Seoul Shinmun (Apr 19, 1991)
Kim Tae-ho Solo Exhibition
The works show a transition from rigid structure to layered, fragmented surfaces. Repetition and material accumulation create dense, tactile compositions with sustained internal order.
Dong-A Ilbo (Apr 19, 1991)
Kim Tae-ho — “Art of Paper” (Solo Exhibition)
Kim Tae-ho’s exhibition focuses on hanji (Korean paper) as a primary material, using layering, tearing, and adhesion to create rich textural surfaces.
Featuring 500+ works, the show emphasizes the fusion of traditional material and contemporary abstraction, highlighting tactile depth and material experimentation.
Kyunghyang Shinmun (Apr 20, 1991)
“The World of Hanji” — Kim Tae-ho
Kim Tae-ho expands his practice through paper-based works, presenting a highly versatile and material-driven approach that redefines the expressive potential of hanji.
Korea Economic Daily (Apr 22, 1991)
Kim Tae-ho Solo Exhibition (after 5 years)
Kim Tae-ho returns with a solo exhibition emphasizing line (“선”) as a vital, expressive element.
His work explores the energy and rhythm of line, combining structural control with a more organic, life-like movement, reflecting a shift toward greater vitality and material expression.
Sports Chosun (Apr 24, 1991)
Kim Tae-ho — “Form” in Paper (Solo Exhibition)
Kim Tae-ho presents a solo exhibition after six years, focusing on hanji-based works that explore surface, texture, and material transformation.
Moving away from earlier rigid structures, the works emphasize vitality, density, and tactile presence, with over 50 pieces demonstrating a shift toward more dynamic, process-driven abstraction.
Jubu Saenghwal (1991)
Kim Tae-ho — Hanji-Based Abstraction (Studio Interview)
Kim Tae-ho explores abstract painting through hanji, emphasizing natural harmony between form, structure, and color.
His work focuses on texture, layering, and material interaction, allowing spontaneous effects to emerge within a controlled framework. The paintings balance structure and free imagination, expanding the expressive potential of paper.
“A work is formed through the nature of its materials and the chance effects they produce.”
In 1994, Kim Tae-ho presented a solo exhibition at Park Ryoung-deok Gallery (Aug 23–Sept 3), marking a decisive return to canvas after years of working with hanji.
Critics noted a shift toward restrained, monochrome-based abstraction, where layered paint surfaces were built up and then scraped back with blades to reveal texture, rhythm, and underlying color. While the works initially appear minimal, they unfold through close viewing into complex fields of accumulated marks, subtle tonal variation, and quiet tension.
The emphasis throughout is on materiality, process, and the controlled traces of gesture, resulting in paintings that invite slow contemplation and convey both structural rigor and lyrical depth.
Kyunghyang Shinmun (Sept 12, 1995)
Kim Tae-ho’s 15th solo exhibition (Sept 12–21, Won Gallery, Seoul) features around 20 large-scale works. His process involves applying acrylic paint roughly 30 times and scraping it away to expose layered color. The works reveal delicate tones (white, gray, blue, brown) and internal rhythm.
Each piece takes months to complete, reflecting repetition, accumulation, and erasure; the artist describes it as a process where creation and disappearance coexist.
Chosun Ilbo (Sept 7, 1995)
Kim Tae-ho (Hongik Univ.) presents a solo exhibition (Sept 12–21, Seoul). Over the past year, he produced about 20 large works under the title Inter Rhythm. Using repeated layering (up to dozens of applications) and knife-scraping, he builds and removes paint to reveal subtle color variations and rhythmic surfaces. The works emphasize the integration of action and material, shifting focus from form to material autonomy and nuanced tonal relationships.
Kyunghyang Shinmun (June 25, 1997)
Kim Tae-ho (Hongik Univ. professor) holds a new exhibition in Busan (June 24–July 3). After shifting from hanji to canvas in 1992, this marks his fourth solo show. His works are large-scale monochrome paintings built by layering acrylic and scraping the surface with blades, revealing underlying colors and creating rhythmic textures. Around 30 works are shown, emphasizing restrained color, fine lines, and accumulated painterly process.
Dong-A Ilbo (June 23, 1997)
Interview with Kim Tae-ho
Kim explains his process as repeatedly applying, drying, and removing paint to build layered surfaces. He describes his work as expressing an internal “rhythm,” like each person’s own inherent rhythm, which guides his gestures. The exhibition (June 24–July 3, Busan) features mainly large works, requiring one to two months each, emphasizing sensitivity, endurance, and concentration.