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Table of Contents
Kim, Kwang Ho
The shadow is a methodological instrument to search for an ego and to find an answer to the most fundamental and essential question of human beings, “Who and what I am?”
“No object without shadow can exist. Every form and shape of the world, whether it moves or not, is a substantive three-dimensional structure. However, shadows constantly return and revert from the plane to the three dimension in my sculptural works, of which the nature is three dimensional. It is because this attempt to substantialize immateriality to materiality is a way of searching for another ego.”
In years of practicing, Kim has developed and experimented with different expressions of shadow: focusing on spatiality and with the design of the sculpture structure itself as a background; allowing a wide blank space in the background and emphasizing on the figuration of the object in front; creating a frame and adding different colours to the sculptures etc. Every form and shape existing in our world are three-dimensional, with spaces in between or surrounding that exist as a void. They are all an investigation into creating the non-substantial from substantial, and vice versa.
No matter the way of expression, Kim’s subject of focus has always been loyal to the Four Sagunja, also known as the four noble ones or four gracious plants – plum, orchid, chrysanthemum, and bamboo, this time with the recurring motif of a seemingly tranquil moon in a golden form on the other side.
Along in the group of his most recent works are also pieces that shift our attention to other objects such as the human figure, houses, and shapes, some with repeated layers and patterns. Each work is placed in front of a mirror as the back frame, offering an alternative way of appreciating Kim’s steel sculptures.
On eye-level, the images appear to be either in black or white and only when you look into the reflection from a different angle would you see a coloured reproduction. The introduction of a myriad of bright colours added a contemporary touch to the pieces, different from the artist’s usual works. Once again, Kim’s sculptures invite the audience’s gaze to travel beyond the boundaries of line expressions, this time extended to the mirrored images created within the works.
Kwang Ho, Kim
Plum Blossom (梅) – Reflection 350x85x1200cm 2021
Stainless Super Mirror
Kwang Ho, Kim
Bamboo& Shadow- Moonlight language 38x10x90cm 2018
Stainless & Natural Stone
Park, Jin Woo
‘Think’ is an avant-garde art. Evolving from memory to dream.
Artist Park Jin-woo’s ‘Think’ series unfolds an modern art world of emotional aesthetics. His artistic world, which began in the second year of junior high school and with his first solo exhibition in 1996, uses the effect of the intuitive spreading and of watercolour through which the reproduction of objects and various surrounding daily events were greatly expressed. His works of this early period showed a skillful application in silhouette and contrast treatment, giving a gloomy feeling and dreamlike inspiration as if it were a mist of water.
From 2002, his works began to develop rapidly, crossing the boundaries of the concept and non-concept approach. As the philosophical contemplation of the meaning and purpose of art deepens, the so-called “memory of the lost time” series is created and revolutionized. The inspiration that was inherent is expelled like a rush of water, a novelty like a melody begins to appear.
The series ‘Memories of Lost Time’ contains memories of the artist’s hometown, Sancheon, and all surrounding objects such as mills, clothes, shoes, bags, etc. As Park develops further, his style gradually migrates towards a focus in the principle of beauty. Regarding his works of this period, Kim Jin-yup, an art critic commented, “…Park Jin-woo’s work is based on ‘memories of the time’ that rose up, but ‘conversation of time’ is the core of his work. The dialogue apparent in the series is not only about the past and the present, but also ‘fantasy and the reality’, ‘abstract and concept’; ‘the original state and the real state’ break down and erode the boundaries.”
The “Think” series, which is a highlight of Park’s career, was a continuation of his “Memory of the Lost Time” series (2002-2009), and went on full swing from 2010. The series is another nostalgic walk down memory lane, and began with a retrospective examination of (sensibility) memory that revives (hometown) reminiscence. The artists catches our attention by unfolding another set of variations to approach the essence of the origin and beauty of the universe with a sense of vigorous power. His works are with magical power that attracts even an indifferent audience into the work.
Park’s inspiration and imagination are almost without limits. He is in the process of taking another leap forward by creating three-dimensional visuals that goes beyond capturing memories and the essence of universe. The artist is keen on exploring further into ‘shapes beyond the shape’ (of the canvas) and setting off a journey of awakening life and art that sings the dreams of the future.
Park, Jin Woo Think
25x6x32cm 2021
Mixed Media
Park, Jin Woo, Think
37×21.3cm 2021
Mixed Media
Park, Jin Woo
Think 130.3×89.4cm 2021
Mixed Media
Park, JinWoo
Think 2021 25x10x32cm
Mixed Media
Park, JinWoo, Think 2021
36.5x16x20.5cm
Mixed Media
Yang, Hyun Jun
‘Adult Child’ is an ongoing series that Yang Hyun Jun has been working on since 2013. The series focuses on family and humanity. Family is a perpetual important component in Yang’s life while humanity to the artist is an immediate realization that comes only after one is able to grasp the greatness of Family. His subject matter highlights particularly maternal love, acting as both a profound quest into and a personal answer to the lack of a father figure in his childhood.
The female protagonist symbolizes the artist’s mother, who has been playing a prominent role in the artist’s life since childhood. The artist hopes to express through a fun and engaging way what a true altruist his mother is, who sacrifices a major part of her own life to take care of the artist and his family. Each work shows the same little girl with a different story in various settings, some with influences from movies and pop culture. She is always having a good time in all kinds of activities – reading, taking care of animals, traveling, playing music, eating etc. The cheeky smirk-like smile on her face adds on an amusing and comical element to Yang’s works.
A different animal in varying sizes accompanies the girl in over half of the artist’s works, in which all of them an adorable representation of the artist himself. The artist sees himself together with his mother in an imaginary world that renders possible what seems to be inconceivable in reality. The imaginary world is a reflection of Yang’s yearn to preserve precious childhood family memories that the artist holds dearly to his heart. When times are tough, family is and will always be, without doubt, a strong fence that forms the irreplaceable peaceful nest that Yang can find shelter in throughout time.
“You may feel like you live in this world alone at times, but you are always due to rely on somebody or be with somebody in one way or another; this stems from humanity”
Another recurring motif is the little girl’s runny nose symbolizing innocence and a carefree childhood manner, painted with epoxy resin, adding a subtle yet signature layer of 3D effect to the artist’s acrylic works on Hanji, traditional Korean paper or on wood panel. This unique nasal teardrop is also present on Yang’s limited-edition vinyl figures.
Imagination is key to living an enjoyable life. However serious and intimate the inspiration behind this series of artworks may be, Yang hopes to playfully share and remind his audience the significance of genuine compassion and affection that humankind is able to share with one another. Why don’t we all show a little act of kindness to people around us or even ourselves every day? What is your inner child like?
Hyun Jun, Yang
Adult Child – Cat Woman 98x80cm 2021
Acrylic on Korean paper
Hyun Jun, Yang
Adult Child – Hood (HBD) 98x80cm 2021
Acrylic on Korean paper
Hyun Jun, Yang
Adult Child – Together V 162x130cm 2020
Acrylic on Korean paper
Yihong Hsu
Everything that happens in our (human) life also happens in nature.Competition, struggle, sustainability, reproduction, coexistence etc. – Hsu’s art is all about Nature. The artist uses elements of nature as her main protagonists to depict her own stories, feelings, encounters and the everyday human life. It is only through these main protagonists that the artist can best express herself and present valuable lessons. Like the ups and downs in our lives, nature also has its own struggles, yet they do it more gracefully and visually more pleasing.
They are fragile yet strong.
The storytelling and translating power of nature are best seen in some of her recent works like ‘How I see it’ and ‘Embracing’. To the artist, we usually take nature as something that stands still, but they are in fact, very much alive. Just like us, any living organisms in nature need to compete, sustain, reproduce, and struggle to survive. Different species in nature has their own better and more beautiful way to co-exist and form a community than the one we surround ourselves with. Hsu sees the differences and depicts each element of nature with semi-abstract forms to emphasize and celebrate diversity.
‘Embracing’ is about the need to stop finding faults and being scared of things that are different from us, and to start embracing and simply accepting the differences.
Hsu articulates every personality of life and nature with recurring lines, patterns, shapes and bright colours, adding an obvious sensation full of vitality and joy to all of her works. Similar to building forces that both wrestle with and work together to take part in nature, the artist’s enormously detailed print-like acrylic pieces immediately engage the audience to investigate closer; yet the combination of straightforward lines, curves and dots, and the almost odd but blending choice of hue composition render any further explanation effortless.
The artist’s personal interpretation of connecting life and nature, of presenting their intertwined and varied intricacies through simultaneously creating harmony and tension in the spaces on her canvases all reflect her own multi-cultural background and experiences – Hsu was born in Seoul, Korea as part of the third generation Chinese immigrants; She studied in the U.S and South Korea, and is currently based in Hong Kong. The journey that she takes the audience on can never be defined with only one label, they are always both minimal and complex.
Yihong, Hsu
Embracing 100x100cm 2021
Acrylic on canvas
Yihong, Hsu
How I See It 180x130cm 2021
Acrylic on canvas
Baek, Jin Ki
Baek’s sculptural works of accentuated texture and curviness gain their energy through the artist’s own inspiration from and interpretation of fundamental elements like light and wind. ‘Light is the roof of all life’ while wind symbolized small movements in life that create the existence of a person.
The artist’s marble works exemplifies how sculpture is more than just a form – he daringly plays and explores the essentially classic and pure material in varying textures, volumes, shapes, and sizes. They challenge the existing framework of sculptures being structured vertical and upstanding in their own ways. His practices attempt to seek and experiment with spaces moulded, carved and engraved in different ways, like one of his earlier works of a cube being drilled in all directions, from inside and out.
Be it textured circles of repetitive layers, or marble-on-marble in wave-life fashion, Baek’s works are about continuous movement and tenacity. They epitomize an ephemeral softness at every moment that can not only be felt but also seen. They portray the meaning of life, the wiliness of a human in every moment, predictable or not, to discover the paths that fate has brought in front of us; the fundamental aspect of human existence.
Light is the roof of all life.
The appearance of light is a fundamental event of creation that is interpreted and religiously, philosophically, culturally and physically. Baek’s ‘Fiat Lux Series’ highlights light as the artist’s main inspiration and subject. ‘Fiat Lux’ means ‘let there be light’ in Latin, which stems from Genesis 1:3 – ‘And God said, Let there be light: and there was light’.
It is through abstract shapes generate and diffuse light, that the artist wishes the fundamental meaning of creation and formation, and the light of hope to spread endlessly. Each of the artist’s expression begins by inserting a point on the marble surface, then obtaining texture and mobility through the superposition of innumerable dots. This particular series reveals Baek’s will to live, his interpretation of the state of chaos before creation, and his articulation of the constant struggle between an artist and the material.
In the ‘Rushing Wind series’, the artist explores how small movements in life create and define existence, just as how a small breeze blowing into the Pacific Ocean could cause a tornado that goes through the Americas. The overlapping and repeatedly layered sculptures brings into existence their very own unique form of art full of texture and curvature, realizing its strengths of life.
Jin Ki, Baek
Fiat Lux , Marble
46x15x24cm 2020
Jin Ki, Baek
Sculptural Drawing Series ,Marble
44x44cm 2018
Choi, Seung Yoon
“The world I’ve ever pondered was missing something… If you think about it, the world cannot be completed without the piece of ‘I’… Now, I’m going to start talking about the World and I” Choi, Seung Yoon, (2020)
The essence of the world is dynamic and at the same time invisible through the shield of speculative emotions. Blue is the main colour and character of Choi’s works because it is the colour of nature and ambivalence, which best matches the notion of paradox and balance that the artist wants to express. Blue is also the primary colour of nature, signifying both sky and ocean; hope and despair; hot and cold. The universe and the earth; Ying and Yang; the beginning and the end; coexistence and balance, which all express a contradictory order and harmony, are the essence of the invisible world as envisioned by the artist.
These precise sentiments communicated through the artworks are brought about from the artist’s own questions and reflections on the concept of time, the paradoxes in life and death, flows and halts, and his observations of the tiniest things in earthly life and their subtle emotions. His linear visualizations suggest that life does not exist independently but develops as a continuous organism in close connection with others. Choi’s creation and splashes of lines collide but also harmonise with each other, ultimately in a space set and manipulated by the artist, just as the organic movement gain momentum and uninterrupted exuberance.
The artist’s usual practice is to spread the canvas on the floor, and dashes on it blue, bold oil paint strokes with brushes or spatulas that he made. His line and spaces are seemingly moving but also paused, liberated but controlled, tensed but relaxed. These overlapping translucent and fluid strokes in different shades and hues depict the time, direction and accidental factors of each stroke that generates their own meanings. Their spatial relationships and the use of moderate colours form a distinctive abstract language of the artist himself that immediately speaks his name.
As smooth and self-explanatory as Choi’s bold, blue traces of movements appear, they express and pass on a liberating and dynamic energy that cannot be defined in any one particularly way. It is in the artist’s most recent works that we see the extension of splashes of gold and red.
Seung Yoon, Choi
Beginning of the stop 100x80cm 2021
oil on canvas
Seung Yoon, Choi
The world & Us 162x112cm 2021
oil on canvas
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