Taking time to observe her surroundings, JoungHee Seo embarks on an adventure of every emotion as she reflects on the past, present, and future. She establishes a game of “I Spy” with the viewer, planting subtle objects throughout her paintings to be discovered. JoungHee Seo lives and works in Seoul and continues to show work internationally. Time Traveler is part of an ongoing series which follows the artist’s life journey.
October 13 – 17, 2021
Seoul
This exhibition follows Kim’s recent landscape paintings, set in a rural village in Gokseong, Jeollanam-do, where Kim spent his childhood. Kim’s delicate landscapes are entirely imaginary. He relies on fragments of memories rather than being on site to produce them. The focus in these works seem to be the time of day where it could be either early mornings before sunrise, or just before the sun sets, capturing the stillness of a fleeting moment.
His subjects are interpretive reflections of his present surroundings connected with his memory of the forest, trees, and wildflowers, enveloped by a familiar fog off the river. The remaining impression from the past appears on canvas to reflect not only his interest in nature’s beauty but also it’s transcendent, healing and meditative qualities.
This exhibition follows Kim’s recent landscape paintings, set in a rural village in Gokseong, Jeollanam-do, where Kim spent his childhood. Kim’s delicate landscapes are entirely imaginary. He relies on fragments of memories rather than being on site to produce them. The focus in these works seem to be the time of day where it could be either early mornings before sunrise, or just before the sun sets, capturing the stillness of a fleeting moment.
His subjects are interpretive reflections of his present surroundings connected with his memory of the forest, trees, and wildflowers, enveloped by a familiar fog off the river. The remaining impression from the past appears on canvas to reflect not only his interest in nature’s beauty but also it’s transcendent, healing and meditative qualities.
This exhibition follows Kim’s recent landscape paintings, set in a rural village in Gokseong, Jeollanam-do, where Kim spent his childhood. Kim’s delicate landscapes are entirely imaginary. He relies on fragments of memories rather than being on site to produce them. The focus in these works seem to be the time of day where it could be either early mornings before sunrise, or just before the sun sets, capturing the stillness of a fleeting moment.
His subjects are interpretive reflections of his present surroundings connected with his memory of the forest, trees, and wildflowers, enveloped by a familiar fog off the river. The remaining impression from the past appears on canvas to reflect not only his interest in nature’s beauty but also it’s transcendent, healing and meditative qualities.
December 9 – December 16, 2021
Galerie Pici Seoul
In Shinduk Kang’s Still Life, lenticular series, although flowers continue to appear in the center, the Tulip holds significant importance to her as it did for other artists during the Golden Age of Dutch flower painting. With a distinctive cup-like form, Shinduk Kang captures their subtle variations across species.
강신덕의 렌티큘러 작품은 정물화의 양식을 갖추고 있다. 정물화는 북유럽 바로크 시대에 꽃피웠다. 렌티큘러의 효과에 의한 영묘한 광채는 정물화 전통에 깃든 현실과 가상에 동시에 걸쳐 있는 듯한 빛의 효과 를 현대적으로 각색한다.
In Shinduk Kang’s Still Life, lenticular series, although flowers continue to appear in the center, the Tulip holds significant importance to her as it did for other artists during the Golden Age of Dutch flower painting. With a distinctive cup-like form, Shinduk Kang captures their subtle variations across species.
강신덕의 렌티큘러 작품은 정물화의 양식을 갖추고 있다. 정물화는 북유럽 바로크 시대에 꽃피웠다. 렌티큘러의 효과에 의한 영묘한 광채는 정물화 전통에 깃든 현실과 가상에 동시에 걸쳐 있는 듯한 빛의 효과 를 현대적으로 각색한다.
In Shinduk Kang’s Still Life, lenticular series, although flowers continue to appear in the center, the Tulip holds significant importance to her as it did for other artists during the Golden Age of Dutch flower painting. With a distinctive cup-like form, Shinduk Kang captures their subtle variations across species.
강신덕의 렌티큘러 작품은 정물화의 양식을 갖추고 있다. 정물화는 북유럽 바로크 시대에 꽃피웠다. 렌티큘러의 효과에 의한 영묘한 광채는 정물화 전통에 깃든 현실과 가상에 동시에 걸쳐 있는 듯한 빛의 효과 를 현대적으로 각색한다.
GeunHwa Lee paints the inner landscape of the sea. Presented at the booth, in her most recent works, traversing the ocean floor, Lee takes her signature painted paper to raise the texture off the background to add dimension to the canvas.
바다라는 거대한 세계 그것도 바다밑에서 빛을 수면위로 올려다보는 각도로 표현한것은 스쿠버 다이빙을 했을때 가장 감동적인 기억에 나의 상상의 세계를 더해서 생생하게 표현해 보려는 나의 설정이다. 떼로 다니면서 생명체들의 종족을 보존하려는 본능에서 나오는 집단의 힘을 넘어서는 아름다움 그리고 생명의 요소에 꼭 필요한 빛의 신비, 물그림자, 블루라는 대표색으로 표현되는 바닷속의 색들 그것을 어떻게 사가의 틀에 내가 보고 느낀 감동을 극적으로 전달할까 하는게 가장 큰 과제인데 그러기에 그 한 장치의 하나로 물고기를 입체로 표현하였다.
