[4] During and after the Korean War, Chang Ucchin made use of the limited resources he had and produced several key works such as his self portrait, Boribat (보리밭, Barley Field, 1951), and Narutbae (나룻배, Ferry, 1951), of which the latter was painted behind Chang Ucchin's own beloved piece, Sonyeo (소녀, Girl, 1939) as he could not access canvases easily after the war.
[8] Deokso period paintings depict people in simplified forms, often resembling stick figures or shown without facial features.
He effected a unique way in painting routine objects familiar to all Koreans such as children, magpies, the sun, and the moon.
[10][9] After purchasing and renovating an old house next to his family home, Chang Ucchin worked at his new studio in Myeongryundong, Seoul.
Paintings produced during this period began to use symmetrical compositions compared to earlier works that were heavily focused on the centre of the canvas.
Her facial features are exaggerated but is cheerful and bright, much like the peaceful and colourful background that contains a dirt road that leads to a village of houses, a sun at the centre of the sky, a bird and a dog.
[14] Chang Ucchin also wrote several short writings for newspapers and magazines, and later collated these to an essay collection titled Gang-ga ui ateullie (강가의 아틀리에, Atelier by the River, 1976).
[15] In 1980, Chang Ucchin set up his studio at Suanbo, Chungcheong-do Province from his Seoul family home at Myeongryundong.
[16] From the 1980s, Chang Ucchin's works began to show stronger Eastern influence in both his painting style and materials used.
[20] His unique painting styles and naive expressions have made him one of the most highly commemorated Korean artists of the twentieth century.