Artist's life changed by the work clothes of a deceased miner

A 1982 oil painting, "Hwangji 330," by artist Hwang Jae-hyung, depicting the tattered work clothes of a coal miner who died in a tunnel collapse, is being recognized for its profound impact on Korean art. The monumental work, standing over 2 meters tall, meticulously rendered the worn-out running shirt and work clothes of miner Kim Bong-chun, who perished in the 1980 Hwangji mine disaster.

When first exhibited at the Central Art Exhibition in Seoul, the hyperrealistic painting, which won an encouragement award, sent shockwaves through the art world. It was praised for its unprecedented subject matter and precise detail, offering a stark portrayal of the realities in mining towns, which had been labeled as hotbeds of dissent following the 1980 Sabuk incident. The artwork presented a new dimension of realism rooted in contemporary Korean reality, distinct from other artists' works that leaned towards superficial critiques of civilization or surrealism.

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I saw the work when I was a graduate student, and it became a huge topic. The composition, which depicted the worn work clothes of a dead miner like a giant enlarged photograph, was exceptional. It powerfully showed the reality of the mines with such a composition, and I felt an irresistible charm. I still feel the same emotion when I see it.

Art critic Choi Seok-tae recalled the painting's significant impact, noting its powerful depiction of mining realities through a close-up, enlarged photographic composition. The work was created over a year in a shared studio by Hwang and four other artists. Hwang had frequently visited mining villages near his hometown and in Taebaek for field sketches, even contemplating a move to a mining community.

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There were originally two preliminary works. One was a work that depicted the running shirt in a gloomy tone, and the other was a work with a different composition of the work clothes, and 'Hwangji 330' was the expression of these two works combined on a larger canvas. I remember him confiding his guilt about receiving a major award for work done as a mere observer. I also remember rumors circulating among some artists that he had drawn it as if he had experienced a miner's life.

Following the award, Hwang's internal conflict deepened. In 1983, he moved with his wife and infant son to Hwangji in Taebaek, taking a job as a coal miner. His wife, Mo Jin-myung, who was also an artist, supported the move, stating she was convinced of his dedication after seeing the powerful realism of "Hwangji 330." She also noted the painting's unique use of color, blending stark black and white with subtle hues of yellow and purple, symbolizing life, death, and hope.

"Hwangji 330" is considered a pioneering work that heralded the rise of labor art in the mid-1980s. Despite Hwang's intention to keep the painting for life, he eventually sold it to the National Museum of Modern and Contemporary Art in 1994 due to financial concerns for his child's education and family's livelihood. The painting is now a permanent fixture in the museum's exhibition of Korean contemporary art highlights.

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Because 'Hwangji 330' was such an outstanding and solidly realistic composition, I was convinced that I could be with someone who created such a work anywhere, anytime, so I gladly accepted the offer to move.