Artworks

Shinduk Kang Open Air Sculpture Artwork 3

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 Open Air Sculpture Artwork 2

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 Open Air Sculpture Artwork 1

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.

Yiyang Oh Artwork 2

Yiyang Oh’s (b. 1964, Naju, South Korea) practice focuses on meticulously prepared colored silicone strips that are placed onto his canvas. His material evolves from a liquid state to a solid state. The process of flattening makes random traces on the silicone when it solidifies, while on the surface of the canvas it creates nodes.

Yiyang Oh Artwork 1

Yiyang Oh’s (b. 1964, Naju, South Korea) practice focuses on meticulously prepared colored silicone strips that are placed onto his canvas. His material evolves from a liquid state to a solid state. The process of flattening makes random traces on the silicone when it solidifies, while on the surface of the canvas it creates nodes.

Oan Kyu Artwork 3

Oan Kyu living in Rome exercises her calligraphic composition to perceive a higher dimension of the
“self.” Oan Kyu is firmly rooted in the tradition of Eastern calligraphy. A complex rapport between visual art and writing is at the center of her artistic research. With the same technique, the same tools – ink, inkstone, brush, and paper – achieve a pictorial “automatism”. Lines and points do not form a static image but embody a vibration, an abstract and together, bodily compositions like a musical score. The concept of using a brush for drawing shows how difficult it can be to define where the drawing leaves off and painting begins.

Oan Kyu Artwork 2

Oan Kyu living in Rome exercises her calligraphic composition to perceive a higher dimension of the
“self.” Oan Kyu is firmly rooted in the tradition of Eastern calligraphy. A complex rapport between visual art and writing is at the center of her artistic research. With the same technique, the same tools – ink, inkstone, brush, and paper – achieve a pictorial “automatism”. Lines and points do not form a static image but embody a vibration, an abstract and together, bodily compositions like a musical score. The concept of using a brush for drawing shows how difficult it can be to define where the drawing leaves off and painting begins.

Oan Kyu Artwork 1

Oan Kyu living in Rome exercises her calligraphic composition to perceive a higher dimension of the
“self.” Oan Kyu is firmly rooted in the tradition of Eastern calligraphy. A complex rapport between visual art and writing is at the center of her artistic research. With the same technique, the same tools – ink, inkstone, brush, and paper – achieve a pictorial “automatism”. Lines and points do not form a static image but embody a vibration, an abstract and together, bodily compositions like a musical score. The concept of using a brush for drawing shows how difficult it can be to define where the drawing leaves off and painting begins.

Sunsoo Kim Artwork 2

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.

Sunsoo Kim Artwork 1

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.

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