Changha Hwang’s new body of work has slowly shifted from the use of modular superpositions of grid formations against expressionistic backgrounds, into more elaborate compositions that seem to include vertical and transversal planes.

His language still seems to spring out of our technological landscape, and if the use of the grid in his work was a reminder of computer windows, then the use of vertical and diagonal elements in his current work seems to come out of computer graphics for the use of statistical studies.

Certainly, there is a need in his work to expand his geometric vocabulary to the point of acquiring a system that could metaphorically represent any kind of scenario.

Hwang’s new elements operate as a filtering lens that transforms any representation into a sequence of predominant colors and planes.

The presence of architecture is as dominant in the work as before, but it is becoming increasingly like a musical/visual score.

The colors of this body of work seem to have shifted in palette in favor of brighter, more uplifting tones.

In all of his painstakingly elaborate and ambitious work, Hwang seems devoted to the representation of our complex and contradictive reality as a beautiful, joyous tapestry.