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Shinduk Kang KIAF SEOUL 21 Artwork 5

Shinduk Kang (b.1952, Seoul, South Korea), evident in her Still Life lenticular works, offers a change in visual perspective, which generates a shift in groups of colors with a kaleidoscopic effect. When viewing Kang’s work, we notice combinations of multiple versions of light sources and ask ourselves, where does the light come from? As if she brought her still life objects to different places, she then condenses them together into one piece.

Shinduk Kang KIAF SEOUL 21 Artwork 4

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.

Shinduk Kang KIAF SEOUL 21 Artwork 3 Sculpture

Kang’s sculptures are a reflection of her liberation of color using familiar shapes, but contrasts them with unexpected lacquered colors. The blue zeppelin shaped sculpture feels as if it’s buoyant. Open Air (B), made of aluminum, denies a direct reflection of the viewer on its surface. It uses light to absorb the surface but shows shadows through heavily grooved curvy surfaces, while the silver stainless steel sculpture, Open Air – Richness, enhances the viewer’s reflection through its mirror-like quality. The idea that these objects are taken from outside in an open field, allow for the direction of the light to be led by the channels marking the entirety of each sculpture.
식물은 인류에게 부활의 메시지를 주었다. 열매들은 그자체로 완제품 같은 매끈한 형태와 산뜻한 색깔을 갖추곤 한다. 스스로 움직이지 못하는 식물은 동물을 통해 씨를 퍼트려야 하기에 다양한 유혹의 장치를 탑재한다. 작가가 강조한 부분은, 일단 크기가 확대되었고, 표면은 자동차 도료라는 인공적 색채로 도포되었다. 빛나는 표면은 식물이 빛을 고정시켜 생태계식물은 인류에게 부활의 메시지에 에너지를 방사하는 메커니즘을 상징하는 듯하다. 둥그스름한 형태에 새겨진 깊은 주름은 자연의 주름처럼 기왕에 있는 부분을 더욱 강조한 것 이다. 요즘 작품은 좌대 없이 그냥 세운 것도 있지만, 최근 몇 년간 국내외에서 발표된 작품들에는 대부분 좌대가 일체형으 로 붙어 있다. 배꼽같은 꼭지를 중심에 둔 주름진 형태는 얼굴을 떠올린다.

Shinduk Kang KIAF SEOUL 21 Artwork 2 Sculpture

Kang’s sculptures are a reflection of her liberation of color using familiar shapes, but contrasts them with unexpected lacquered colors. The blue zeppelin shaped sculpture feels as if it’s buoyant. Open Air (B), made of aluminum, denies a direct reflection of the viewer on its surface. It uses light to absorb the surface but shows shadows through heavily grooved curvy surfaces, while the silver stainless steel sculpture, Open Air – Richness, enhances the viewer’s reflection through its mirror-like quality. The idea that these objects are taken from outside in an open field, allow for the direction of the light to be led by the channels marking the entirety of each sculpture.
식물은 인류에게 부활의 메시지를 주었다. 열매들은 그자체로 완제품 같은 매끈한 형태와 산뜻한 색깔을 갖추곤 한다. 스스로 움직이지 못하는 식물은 동물을 통해 씨를 퍼트려야 하기에 다양한 유혹의 장치를 탑재한다. 작가가 강조한 부분은, 일단 크기가 확대되었고, 표면은 자동차 도료라는 인공적 색채로 도포되었다. 빛나는 표면은 식물이 빛을 고정시켜 생태계식물은 인류에게 부활의 메시지에 에너지를 방사하는 메커니즘을 상징하는 듯하다. 둥그스름한 형태에 새겨진 깊은 주름은 자연의 주름처럼 기왕에 있는 부분을 더욱 강조한 것 이다. 요즘 작품은 좌대 없이 그냥 세운 것도 있지만, 최근 몇 년간 국내외에서 발표된 작품들에는 대부분 좌대가 일체형으 로 붙어 있다. 배꼽같은 꼭지를 중심에 둔 주름진 형태는 얼굴을 떠올린다.

Shinduk Kang KIAF SEOUL 21 Artwork 1 Sculpture

Kang’s sculptures are a reflection of her liberation of color using familiar shapes, but contrasts them with unexpected lacquered colors. The blue zeppelin shaped sculpture feels as if it’s buoyant. Open Air (B), made of aluminum, denies a direct reflection of the viewer on its surface. It uses light to absorb the surface but shows shadows through heavily grooved curvy surfaces, while the silver stainless steel sculpture, Open Air – Richness, enhances the viewer’s reflection through its mirror-like quality. The idea that these objects are taken from outside in an open field, allow for the direction of the light to be led by the channels marking the entirety of each sculpture.
식물은 인류에게 부활의 메시지를 주었다. 열매들은 그자체로 완제품 같은 매끈한 형태와 산뜻한 색깔을 갖추곤 한다. 스스로 움직이지 못하는 식물은 동물을 통해 씨를 퍼트려야 하기에 다양한 유혹의 장치를 탑재한다. 작가가 강조한 부분은, 일단 크기가 확대되었고, 표면은 자동차 도료라는 인공적 색채로 도포되었다. 빛나는 표면은 식물이 빛을 고정시켜 생태계식물은 인류에게 부활의 메시지에 에너지를 방사하는 메커니즘을 상징하는 듯하다. 둥그스름한 형태에 새겨진 깊은 주름은 자연의 주름처럼 기왕에 있는 부분을 더욱 강조한 것 이다. 요즘 작품은 좌대 없이 그냥 세운 것도 있지만, 최근 몇 년간 국내외에서 발표된 작품들에는 대부분 좌대가 일체형으 로 붙어 있다. 배꼽같은 꼭지를 중심에 둔 주름진 형태는 얼굴을 떠올린다.

Oan Kyu Artist Artwork 2

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Oan Kyu Artist Artwork 1

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Shinduk Kang AOP21 Artwork 4 Heaven and Earth Sea

Drawing and printmaking offer important aspects of Shinduk Kang’s practice. The artist’s first major museum survey in 2005 at the Gwang-Ju Art Museum in Korea, started with the first exhibition room showing her screenprint on metal mesh, while the third exhibition room, which was the final room, was dedicated to screenprint works on paper. Her screenprints give a similar impression to her sculptural works, expressing a rhythmic and colorful energy.

As Kang develops her work from one medium to another, she takes her themes and makes variations on them, as evident in her Heaven and Earth series. She gathers from her granite sculptures the concept of their forms and places them in a new, two-dimensional environment, sharing space with her Korean culture. With these sculptures reinterpreted as prints, they join in dialogue with the Korean alphabet to arrange a melodic garden. She connects this series to both her cultural heritage, and the development of her artistic practice. Vowels in the Korean language reflect the idea in Eastern philosophy that heaven, earth, and humans are all one. The circles symbolize the Sky, a horizontal line symbolizes Earth, and a vertical line represents a Human. This unification is also apparent by the way Kang connects the various mediums she works with, oscillating between works on paper and lenticulars, or sculptures and drawings, while creating added meaning to each work.

Her playfulness begins with the existence of one large structure, but is often broken up into sections, pieces, or rearranged to construct new forms. These new forms executed using colored paper give the impression of entering a garden full of gorgeous plants. This secret space, where the pleasure of life is nurtured abundantly, can be said as reflecting her positive reasons for life.

Shinduk Kang AOP21 Artwork 3 Heaven and Earth Sky

Drawing and printmaking offer important aspects of Shinduk Kang’s practice. The artist’s first major museum survey in 2005 at the Gwang-Ju Art Museum in Korea, started with the first exhibition room showing her screenprint on metal mesh, while the third exhibition room, which was the final room, was dedicated to screenprint works on paper. Her screenprints give a similar impression to her sculptural works, expressing a rhythmic and colorful energy.

As Kang develops her work from one medium to another, she takes her themes and makes variations on them, as evident in her Heaven and Earth series. She gathers from her granite sculptures the concept of their forms and places them in a new, two-dimensional environment, sharing space with her Korean culture. With these sculptures reinterpreted as prints, they join in dialogue with the Korean alphabet to arrange a melodic garden. She connects this series to both her cultural heritage, and the development of her artistic practice. Vowels in the Korean language reflect the idea in Eastern philosophy that heaven, earth, and humans are all one. The circles symbolize the Sky, a horizontal line symbolizes Earth, and a vertical line represents a Human. This unification is also apparent by the way Kang connects the various mediums she works with, oscillating between works on paper and lenticulars, or sculptures and drawings, while creating added meaning to each work.

Her playfulness begins with the existence of one large structure, but is often broken up into sections, pieces, or rearranged to construct new forms. These new forms executed using colored paper give the impression of entering a garden full of gorgeous plants. This secret space, where the pleasure of life is nurtured abundantly, can be said as reflecting her positive reasons for life.

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