Hong Soon-hwan’s -Communication as Horizontal Relationship-

홍순환의 <중력의 구조>
-수평적 관계로서의 소통-

  신라갤러리 초대전인 <중력의 구조>는 문화 역사적 관계 속에 놓인 ‘나’혹은 ‘너’의 삶에 대한 작가적 시선이다. 그 시선은 개별적인 삶이 주는 흔적을 통해 실존을 유추해 가는 나와 너의 경계, 그 경계를 가로지르는 소통과 만남에 대한 홍순환의 해석이다. 그것은 자신의 삶 속에서 경험한 사회적 관계를 타인의 삶을 통해 반추하는 것에서 출발한다. 그래서 그의 설치는 오브제 간의 관계에서 발생하는 물성이나 용도 혹은 형상의 차이가 묵묵하게 서로를 마주보고 있지만, 그 설정은 역학적 관계(Dynamical relation)이다. 이러한 역학관계로 설정된 오브제와 오브제 간의 틈과 결 그리고 무게와 부피는 바로 ‘나’ 혹은 ‘너’로 환원되는 관계의 조건, 관계 항들이 갖는 사회적 조건의 경계로 작용한다. 그리고 ‘나’ 혹은 ‘너’인 ‘우리’의 관계는 삶이 놓인 장소(site), 즉 <중력의 구조>가 작용하는 하나의 판(situation, state)위에 놓여 있다. 

  지난번 아트스페이스 펄의 개인전에서 보여주었던 <중력의 힘>은 질량을 가진 물체들 간의 관계가 갖는 사고의 편향성 혹은 사회적 상황에 대한 작용과 반작용이 갖는 부조리에 관한 것이었다. 익숙한 것과 낯선 것의 배치로 작용과 반작용의 관계를 보여주었던 <중력의 힘>이 통념을 성찰하는 시도였다면, <중력의 구조>는 보다 체계를 가진 사회적 관계의 구조를 사유한다. 어떤 점에서는 낯선 물체의 결합이라는 이중의 구조를 통해 그 틈새에서 익숙한 것의 차이를 부각시켰다는 점에서는 <중력의 힘>과 유사성을 가지고 있다.
  그러나 <중력의 구조>는 <중력의 힘>에서 보여주었던 물체 간에 작용하는 힘의 원리 보다는 우리가 살아가는 사회 문화적 문맥에서 발생하는 역학관계를 제시하고 있다는 점에서 나와 너 혹은 우리로 읽혀지는 장소와 장소 간의 맥락적인 구조를 전제한다. 이처럼 <중력의 구조>는 격자로 짜 맞추어진 매우 견고하게 구조화된 현대 도시풍경, 격자(grid)로 이루어진 하얀 타일 위에는 투명한 유리구슬과도 같은 크고 작은 구들이 놓인 장소가 되고 있다. 일견 바둑판이나 체스판과도 같은 거대한 판은 우리가 놓인 장소 혹은 구조적 틀을 지시하고 있는 것 같다. 그렇다면 그 위에 놓여 있는 둥근 구체는 바로 바둑이나 체스판 위에 놓인 게임을 위한 돌이나 말일 것이다. 홍순환은 그 돌이나 말의 위치에 놓인 것을 투명하고 둥근 구체를 통해 훤히 들여다보이는 것으로 설정한다.

  이를테면 전시 공간 전체를 장악한 판은 공간을 가로지르며 지지대를 갖지 못한 채 공간 에 부유하듯 바닥에서 위로 띄워 진 채 놓여있다. 이 판은 존재의 장소 혹은 지지대(공중에 부유하듯 불안정한 상태이지만)로 그 위에는 둥글고 투명한 공이 여기 저기 판위에 놓여있다. 투명한 공의 형상이 갖는 의미는 판과 함께 이번전시의 가장 핵심적인 오브제일 것이다. 그리고 그 투명한 구체 너머 전시장 벽면에 걸린 사진은 역사의 한 순간에 존재했다가 사라져간 혹은 사라져갈 삶의 일상에 대한 한 순간의 정지된 이미지, 그러나 열린 시간의 문으로 작용하는 사진오브제이다. 사진 오브제가 열린 문으로 작용하는 이유는 과거와 현재라는 시간과 저곳과 이곳이라는 공간적인 관계를 연결하는 하나의 고리로 작용하고 있기 때문이다.   
  홍순환의 <중력의 구조>를 설명할 수 있는 기준으로 언어구조의 체계와 구조주의 사회학의 맥락에서 설명하면 다음과 같다. 먼저 언어구조의 체계로 보면, 일상에서 이루어지는 대화(parole)는 사회적 규칙(langue)에 준해서 이루어지는 것처럼, 너와 나의 소통은 언어적 구조를 통해 이루어진다. 그것은 언어 구조의 이분법이 갖는 사회적 체계가 공유하는 규칙과 개인적이고 구체적인 현상을 갖는 대화는 소통의 도구로서 나와 너 사이에 맺어진 약속이기 때문이다. 다시 말하면 규칙이 어떠한 상황에도 변하지 않는 사물의 기본개념을 추상적으로 설명하는 언어의 본질적인 모습이라면, 대화는 상황에 따라 다양하게 표현되는 구체적인 언어를 말한다. 이 같은 언어소통구조는 기표/기의, 통시성/공시성, 계열체/복합체 라는 이중의 체계들이 갖는 관계설정에서처럼, 이번 홍순환의 <중력의 구조>에 설정된 모티프들이기도 하다. 
  이 같은 이분법적 모티프로 설정된 <중력의 구조>가 제시하는 작가적 시선은 구조주의사회학의 맥락에서 보다 구체적으로 설명될 수 있을 것이다. 인간주의사회학에 대응하는 구조주의사회학은 삶은 주어진 구조에 의해 이루어지고 있어서 사고와 행위 역시도 구조의 법칙에 종속되어 있기 때문이다. 이러한 구조주의 사회학적 관점 중에서 오랜 기간 반복적 행위와 관습화된 구조가 인간의 행위에 외적 강제력을 행사한다는 점이다. 이는 언어와 사고체계 그리고 습관 등을 통해 문화적 현상의 맥락을 밝히려는 사회인류학적 관점이기도 하다. 사회질서의 변화가 개별 인간의 주관적이고 능동적 추진력에 의해서가아니라 구조에 의하여 이루어진다고 보는 시각은 확실히 홍순환의 <중력의 구조>를 설명하는 중요한 요소가 된다. 이렇게 볼 때, <중력의 구조>는 사회집단에 따라 사고체계나 언어와 관습 등의 의식이 다양하게 발현되지만, 사실상 이러한 경험적 실체의 배후에 놓인 구조에 의하여 지배받고 있는 것에 대한 역학적 관계의 설정은 동시대를 보는 작가적 시론일 것이다.

  홍순환은 독일의 벼룩시장 한 구석에서 무명의 사진가가 세심하게 기록해 놓은 100여 장의 슬라이드 사진을 발견한다. 그 사진에 담긴 삶의 기록은 그 어딘가에 있지만 단절된 타인의 삶에서 나 혹은 우리의 삶과 연결되는 하나의 고리일 것이다. 이러한 삶의 연결고리에 대한 발견은 작가에게 있어 시간과 공간을 초월한 관계로 닫힌 문을 열어가는 중요한 단서가 되고 있다. 그래서 <중력의 구조>는 지금 ‘여기’에 있는 나의 삶과 과거의 ‘저곳’에 있던 타인의 삶이 연결되면서 ‘여기’에서 ‘저기’로 이동하는, 반인과적 관계에서 인과적인 관계의 형성이 가능해 진다. 그 의미는 반인과적 관계를 통해 불완전한 사회적 구조나 텅 빈 허상 속에 들어 있는 타인의 삶이 바로 현재의 우리 혹은 나의 삶을 반추하는 현실에 대한 구조적인 사유방식을 끌어내는 것에 있다.

  홍순환의 공간에 대한 해석은 확실히 서로 다른 질량을 가진 오브제, 그러나 중력에 지배되는 오브제인 설치물들 사이에서 발생하는 간격을 <중력의 힘>으로 보여주었고, 이러한 시도 이전에 생성과 소멸이라는 순환의 체계로 접근했던 진화랑의 <중력의 구조>에 대한 전시 이후 신라갤러리에서 시도한 <중력의 구조>는 견고해 보이지만 불안정한 상태의 구조적인 틀에 놓인 나와 너 혹은 우리의 관계를 수평적 관계로 소통되는 사유의 지점에서 제시하고 있다.  
  ‘중력’이라는 주제로 일관하고 있는 홍순환의 일련의 작업들 속에서 발견하는 것은 중력이 작용하는 힘과 구조에 대한 사유가 사회적 관계에서 발생하는 소통의 지점을 간파해 나가고 있다는 점이다. 나와 너 혹은 우리라는 관계 속에서 발견하고 있는 중력의 힘과 구조에 작용하는 원리가 수평적 관계인식으로 소통되길 바래본다.

(김옥렬/현대미술연구소&아트스페이스펄)

▲2012. 갤러리신라 전시장면

▲조명

Hong Soon-hwan’s
-Communication as Horizontal Relationship-

  Invitation exhibition of Shilla Gallery features the artist’s eyes for ‘me’ or ‘you’ placed in the relationship of the culture history. Hong Soon-hwan analogizes, from the existential relationships steeped in individuals’ traces of lie, a boundary between ‘me’ and ‘you,’ while interpreting communications and encounters   both crossing the boundary. His analogy or interpretation start with the reflection through others’ life on the social relationships he has experienced. Hence, his installations are set as some dynamical relations, although properties, uses or forms differ in terms of the relationships among objects. Crevices and textures among objects set in such dynamical relationships as well as weights and volumes of the objects act as the boundary among the social conditions defining the relational conditions or the referents reduced to ‘me’ or ‘you.’ In addition, ‘our’ relationship, namely ‘me’ or ‘you’ is placed at the site of our life, namely on a situation or state subject to ‘the structure of gravity.’
  His solo exhibition held at Artspace Purl last time was about the irregularities of actions and reactions with regard to the biased thoughts or social situations in the relationships among the masses. By laying out the things familiar and unfamiliar, he attempted to show the relationships between actions and reactions in order to help us meditate on the concept . At this exhibition , however, he meditates on the structure of the more systematic social relationships. In a sense, this exhibition seems to be similar to his last exhibition in that the differences among some familiar things are highlighted in the crevices of the dual structure or the combined unfamiliar objects.
  Nevertheless, as suggests the dynamical relation occurring in our socio-cultural context rather than the principle of power acting among objects featured in , it assumes a contextual structure among the places read as ‘me’ or ‘you.’ As such, becomes a place showing a very solidly structured contemporary cityscape like the well-woven grids or large and small cubes like transparent glass beams set on the white grid tiles. At a glance, the huge plate like a ‘go’ or chess board seems to dictate our place or structural frame. Then, the round cubes thereupon may be comparable to the ‘go’ stones or ‘chessmen.’ Hong Soon-hwan sets the positions of such stones or chessmen as transparent see-through round cubes.
  For example, the plate occupying the entire exhibition space crosses the space as if it were floating with no support; it is suspended over the floor. Transparent round balls are placed here and there on the place signifying a place of existence or a support (thought it looks unstable being floated in the air). The transparent balls may be the core objects for this exhibition together with the plate. On the other hand, the photo hung on the wall beyond the transparent cubes is a still image of a moment in the ordinary life ? that once existed at a moment of history and then disappeared. Anyway, the photo is an object acting as a door of the open time. The reason why it acts as an open door is because it functions as a ring connecting the spatial relations ? here and there ? with the past and present times.
 Hong Soon-hwan’s can be explained as follows in terms of its linguistic structure or system or its structuralism sociology. First, in terms of its linguistic structure or system, just as the parole in the ordinary life occurs according to a social langue, so the communication between ‘me’ and ‘you’ occurs according to the linguistic structure. The reason is that the rules shared by the social system underlying the dichotomy of the linguistic structure are a set of the conventions made as communication tools  between ‘me’ and ‘you’ like the dialogue both individual and specific. In other words, if the rules represent the essence of language explaining about the basic concept of the objects invariable in any situation, the dialogue is expressed specifically in various ways depending on the situations. Such linguistic communication structure connotes signifer/signified, synchronicity/diachronicity, series/complex, etc., which are the motifs set in Hong Soon-hwan’s .
  The artist’s eyes suggested by as the dichotomic motive may well be explained more specifically in the context of the structuralism sociology. The structuralism sociology in contrast with the humanism sociology assumes that since human life is already structured socially, our thoughts and behaviors cannot but be subject to the rules of the structure. From such perspective, the structure settled over a long period of time can influence our external behaviors. In this socio-anthropological context, our language, thinking system and habits are interpreted to determine the contexts of a cultural phenomenon. The view that the social order is changed not by individuals’ subjective and active power but by the structure is apparently applied to Hong Soon-hwan’s . In this sense, reveals the artist’s view that although thinking system, language and custom may differ depending on the social groups but that they are indeed ruled by the structure underlying such experiential identities.
  Hong Soon-hwan happened to find at a flea market in Germany a hundred and some slide photos that were carefully recorded by an unknown photo artist. The records of life therein may be a set of rings linking others’ life with ours, although disconnected. Such discovery of the rings of life suggests an important clue to opening the closed door to a relationship transcending time and space. So, enables us to form a caustic relationship from the non-caustic ones moving ‘here’ to ‘there,’ because my life ‘here’ can be linked to other’s life ‘there.’ His intention is to reveal some structural way of thinking about the reality by determining others’ life within the imperfect social structure or the void virtual images.
  Hong Soon-hwan’s interpretation of the space has shown by means of the power of gravity the crevices among the objects or installations having different masses but being ruled by gravity Before at his Gallery Jean exhibition , he referred to the cyclic system or the system of generation and extinction. In contrast, at this Shilla Gallery exhibition , he features as the horizontal relationship of meditation the relationship between ‘me’ and ‘you’ which is set in a seemingly solid but unstable frame of structure.
 What we find in a series of Hong Soon-hwan’s works consistent in view of their theme ‘gravity’ is a point of communication in our mediation on power and structure of gravity and our social relationships. It is wished that the principle acting on power and structure discovered in the relationship between ‘me’ and ‘you’ or us would be recognized as the principle of the horizontal relationship.

(Kim Ok-ryeol/ Hyundai Art Institute & Artspace Purl)

▲수류탄 부분

▲자 중앙

▲페인팅

홍 순 환 / HONG SUN-HOAN

1991. 중앙대 예술대학 회화과 졸업
2000. 뒤셀도르프 미술대 조형예술학 석사과정 졸업
(1997.마이스터쉴러, 2000.아카데미브리프)

개인전(selected)
1994. 갤러리 도올 - 정신을 위한 감자. 서울, 한국
1996. Kleine Rathaus Galerie Odenthal - Die Anwesenheit(현존). Odenthal, 독일
1998. 예술의전당미술관. 서울, 한국
1998. Kleine Rathaus-Galerie Odenthal - Die Identitaet(정체성). Odenthal, 독일
1998. Galerie Bloemkes & Poette. Wuppertal, 독일
2000. 관훈갤러리. 서울, 한국
2002. 문예진흥원마로니에미술관. 서울, 한국
2003. 갤러리아츠윌 - declaration of love. 서울, 한국
2003. 한국소리문화의전당. 전주, 한국
2003. Stellwerk im kulturBahnhof Kassel - The centrifugal force(원심력). Kassel, 독일
2005. 관훈갤러리 - 역설과 현장,무엇과 어떻게에 관한 배치적 질문들. 서울, 한국
2007. Gallery Laden44. Dueseldorf, 독일
2008. 갤러리쿤스트독. 서울, 한국
2010. 진화랑. 서울, 한국
2011. artspace purl. 대구, 한국
2011. 갤러리쿤스트독. 서울, 한국
2012. 갤러리신라. 대구, 한국

EDUCATION
1991 Bachelor's Degree in Painting, Chung-AngUniversity
2000 M.F.A Graduated from Kunstakademie Duesseldorf
(1997 Meisterschueler 2000 Akademiebrief by Prof. Beate Schiff, Prof. Siegfried Anzinger)

E X H I B I T I O N S (solo-selected)
2012 Gallery Shilla, Daegu Korea
2011 Gallery Kunstdoc, seoul Korea
2011 Artspace Purl, Daegu Korea
2010 Gallery Jean+Jean Art Center, Seoul. Korea
2008 Gallery Kunstdoc, Seoul Korea
2007 Gallery Laden 44, Duesseldorf Germany
2004 Gallery Dukwon, Seoul Korea
2003 Gallery artsWILL, Seoul Korea
2003 Stellwerk im Kulturbahnhof, Kassel Germany
2002 Marronnier Art Center, The Korean Culture & Arts Foundation, Seoul Korea
2000 Gallery Kwanhoon , Seoul. Korea
1998 Gallery Bloemkes & Poette, Wuppertal Germany
1998 Gallery Kleinerathaus, Odental Germany
1998 Seoul Art Center, Seoul Korea
1996 Gallery ,Kleinerathaus, Odental Germany


편집부 cultureocean@naver.com

Jung, kang ja

정강자 작품전
Jung, kang ja

2012.4.4 _ 4.9
인사아트센터 1층

서울시 종로구 관훈동 188
tel. 02-736-1020

국내 최초 행위예술가 정강자 화백

인터뷰 : 왕인자 발행인

성동구에 자리잡은 정화백의 작업실을 찾은 날은 봄햇살에 머리에 두른 빨강색 터번이 더욱 열정적으로 강열했다. 커피한잔의 여유와 줄곧 지난시절의 작품할동을 말씀하시는데 어쩜 저렇게 에너지가 넘치실까 의구심이 갈 정도로 활력이 넘쳤다.

기존의 질서를 무너뜨려야 앞서갈 수 있다는 일념하나로 작업하셨다는 정화백을 만났다.

정화백은 1967년 홍익대를 졸업한 우리나라의 대표적인 여류작가이다. 이 시기에 대학을 다니던 정화백은 캠퍼스에서의 교육보다 일찍이 현대미술에 눈떠 전위작가로 활동하던 선배들, 정찬승(작고), 강국진(작고) 등과 함께 퍼포먼스를 했다. 그당시를 회고하며

“ 당시만해도 장르의 구분이 엄격했고 선배들은 기껏해야 캔버스에 인상파나 추상 표현주의 화풍만 답습하고 있었지요. 선배들이 하지 않는 것을 해야 한다고 생각했습니다.

기성세대가 이해할 수 있는 예술이 무슨 예술인가요. 동시대가 편안하게 받아들이는 작품에는 예술성이 없습니다. 시대를 적어도 100년, 아니면 50년은 앞서가야지요.” 하신다.

정화백이 본격적으로 작가 활동을 시작한 것은 그가 대학을 막 졸업하던 1967년 청년작가연립전부터이다. 그는 이 행사에 <신전> 동인으로 참가했다. 이 당시 정강자는 강국진, 정찬승 등의 선배작가들과 공동으로 참가한 '해프닝' 작품을 선보이는데, 68년 <투명 풍선과 누드>, <한강변의 타살>, 69년 <한국 문화인의 장례> 등은 그 당시 보수적인 미술계를 발칵 뒤집어 놓을 만큼 쇼킹했던 '해프닝'이다. 한때 그는 '아방가르드(avant-garde·전위)'의 대명사였다. 1968년 음악감상실 '세시봉'에서 상의를 벗은 그에게 관객이 풍선을 불어 몸에 붙이고 관객이 터뜨리게 하는데 풍선이 다 터지면 전신이 드러나는 누드 퍼포먼스를 벌이자 좌중은 손뼉 치는 것도 잊은 채 말을 잃었다고한다. 토플레스와 목도리만 걸치고 퍼퍼먼스를 했기 때문에 그 당시로선 쇼킹했다고한다. 여성해방을 갈망하던 그 당시 시대적 반영을 실천한 대 사건이었다.

“공연을 보려왔다가 돌아간 사람만 당시에 300여명이었으니까. 물론 긍정적이지는 않았어요. 미쳤다며 아주 심한 욕도 많이 들었습니다”.

또한, <한국 문화인의 장례>는 사이비 예술가를 장사지낸다며 관을 들고 국회의사당까지 행진하는 퍼포먼스 도중 정씨는 경찰에 체포돼기도 했다. 이후 경찰은 정씨와 동료들을 감시했고, "몸 성하고 싶으면 그만하라"는 언질도 받았다.

정씨는 "우리는 체제를 전복하려는 게 아니라 답습을 일삼는 창작 문화에 반발한 것"이라고 했는데 지금 생각해보니 시대분위기상 당돌했던거 같다고 했다.

말씀도중 한시도 흐트러짐없이 눈빛을 빛내며 회상하시는 모습에서 나이는 숫자에 불과함을 느꼈다. ‘최초’라는 타이틀에 걸맞게 청년작가의 열정과 꿈, 에너지로 열기가 더해갔다.

1970년 국립공보관에서 가졌던 첫 개인전 <그림 없는 그림 전>은 관람객을 '오브제'로 제시하는 파격적인 해프닝으로 연막을 피우고 관람객이 하나둘씩 모여들고 웅성거리며 작가는 어디있느냐? 작품은 어디있느냐? 고 질문이 빗발칠 때 “바로 여러분이 저의 작품입니다”고 말하고 나니 금새 싸이렌이 울리고 차가 오는가하면 정보기관으로부터 반사회적 작품이라며 강제 철수 당한다.

“하여간 그해 경향신문에서 '발광상' 1위로 뽑혔어요. 어쨌거나 후회는 없습니다.

작품을 위해서라면 목숨까지도 바칠 수 있다고 생각했으니까요.”

정화백은 세계여행도 1978년 동남아 여행을 시작으로 서남아시아, 남태평양, 멕시코 중남미, 아프리카등 40여개국 오지의 여행을 하면서 정강자 만의 기법과 원색을 사용한 색채로 이국풍경을 담아내고 춤을 주제로 한 회화작업을 보여준다.

끊임없는 움직임으로 생명감을 대신하는 춤이야말로 역동적인 생명의 원천이라고 말하는 정화백은 원은 정지된상태가 아니고 순환의 원천으로도 생각한다. 모든 대상이 원과 반원이 서로 부상하여 한복의 선으로 나타나는가 하면 야누스의 모습으로 나타나기도 한다.

우리의 것을 표출할 수 있는게 뭔가를 고민하던중 한복의 선과 승무야말로 빼놓을 수 없는 소중한 소재라는걸 알게되고 그의 그림에 자주 등장한다. 한복을 입은 여인을 모티프로 자주 사용하며 춤사위를 역동적으로 표현하는가 하면 그런 동적인 음률에서 자아를 발견하고 찾아가는 과정이라고나 할까? 끊임없는 변화를 추구하고 미래지향적인 성향이 여실히 보여진다.

그는 어떤대상을 표현하기보다는 그려지는 대상이 지닌 내면의 생동감을 표현한다고한다.

그의 작가노트에서도 알 수 있듯이 “무엇을 그려야 할 것인가? 에 대한 나의 40여 년에 걸친 번뇌와 방황, 점점 길을 잃고 빠져들기만 하는 미궁에서 내게 희망의 길을 제시해준 것은 세잔, 몬드리안, 그리고 마르셀뒤샹이었다. 지금 나는 나만의 새로운 해법을 발견하엿다. 우주 모든 사물을 구성하는 최소단위가 원자이다. 원자가 쪼개지면서 원자폭탄이 터지듯 원이 지닌 무궁무진한 원시의 에너지를 나는 화폭에 담는다. 이곳에서 꽃도, 사람도, 풍경도 모든 소재는 나만의 언어이자 방법인 ‘원’으로 다시 태어난다. 그 원을 쪼개어 보니 우리의 전통인 곡선이 있다. 나는 그 신천지의 한 가운데에 있다. 여기서 나만의 해법인 원으로 탄생시킨 창조물들을 세상에 계속 선보일 것이다. 그리고 그것은 나만의 분명한 아이덴티티가 될 것이다.” 이는 근작으로 오면서 원에서 반원의 형태로 환원되어진다. 어머니 같은 대지의 색감에 춤사위의 선의조화들은 한국여인상 그자체인 것이다.

매일 어김없이 9시면 작업실에서 붓을 들고 지칠줄 모르는 열정을 불태우며 미지의 세계를 노래하고, 무언가 꿈틀거리는 에너지를 화폭에 담아내고 있다.

어떤책을 좋아하느냐는 질문에 SF소설을 좋아한다고 눈빛을 반짝이는 모습에서 다시한번 그의 에너지가 전해옴을 느꼈다.

이 시점에 그토록 충전한 원시의 에너지가 다시한번 분출하기를 기대해본다.

정화백과 얘기를 나누는 동안 그의 예술세계를 그려보니 아쉬움이 많다. 미술사의 한 획을 그은 작가임에도 불구하고 주목받지못한 작가임이 틀림이 없다.

본지에서는 그를 재평가하는 작업을 계획중이다.

정강자

1942 경상북도 대구에서 태어남

1967 홍익대학교 서양학과 졸업

1985 홍익대학교 미술교육학과 졸업

1967 ‘신전’ 동인으로서 한국 청년작가 연립전 참가

1968 국립공보관에서 열린 환경미술전 초대, 정찬승 강국진과 함께 해프닝 “투명풍선과 누드”

1969 정찬승, 강국진, 손일광, 김구림과 함께 해프닝 “한국문화인의 장례식”

1970 국립공보관에서 1회 개인전 “그림 없는 그림전”

1979 인도네시아 자카르타 국립현대미술관에서 초대, 바틱 작품들로 2회 개인전

1986 프레스센터 서울갤러리에서 개인전

1989~1990 일간스포츠에 “그림이 있는 기행문” (아프리카편, 서남아시아편)연재

2003 종로를 행진하며 3.1절 기념 퍼포먼스 “레퀴엠1919”

2006 서호 갤러리 24번째 개인전 “외로운 여정”

2007 코엑스 KIAF(세종갤러리 초대)

2008 독일 함부르크 초대전

2010 하나아트갤러리 초대전

2011 SOAF 레어갤러리 초대전

중요 소장처

국립현대미술관, 서울시립미술관, 예술의 전당, 아라리오 갤러리, 모란미술관 외

Jung, kang ja

1942 Born in Daegu, Gyeongsangbukdo, Korea

1967 Graduated from Hong-ik University(Major : Western fine art)

1967 Participated in the Exhibition of Korean Young Artists as a member of 'Shinjeon'

1968 Invited to the Open Art Exhibition for Environment at National Publicity Hall

Performed happening

1969 Performed happening

1970 The first private exhibition 'The exhibition without a painting' at National Publicity Hall

1979 Invited to Jakarta National Modern Museum, Indonesia

1986 The fifth private exhibition at Seoul Gallery, Press Center

1989~1990 Published serial articles 'Travel sketches with pictures - Africa and West Asia in The Daily Sports

2003 Performance to celebrate 'The First of March' at Jongno

2006 Private exhibition 'The lonely journey' at Seoho Gallery

2007 KIAF (Sejong Gallery invitation exhibition) at COEX

2008 Hamburg invitation exhibition, Germany

2010 Hana Art Gallery invitation exhibition

Collections

National Museum of Contemporary Art, Korea, Seoul Museum of Art, Seoul Arts Center, Arario Gallery, Moran Gallery

왕인자 wanginja@hanmail.net

Jeon, Kang ok

기울어진 사물/ 가변설치 / 오브제/2011

풍선과 큐브 / 150×62×56cm / 철, 합성수지, 우레탄 도색/ 2011

서 있는 물 / 230×127×83cm / 철, 우레탄 도색/ 2011

무게의 논리 II / 185×144×144cm / 철, 우레탄 도색/ 2009

▲가리센다의탑

▲기울어진 책장

 Destabilization, instability, rupture, collapse

The concept of balancing mass and weight is revealed through the use of gravity in the sculptural pieces. The three-dimensional object remains in a state of equilibrium and stability. (Equilibrate, destabilize, balance, counterbalance, stabilize). Weight is of primary importance for the balancing of the sculptural elements, calling forth not only the balancing of physical mass, but also the notion of psychic harmony. Without weight, there is neither elevation nor equilibrium.
However, creating a situation in which gravitational forces are visibly called into play results in the experimentation of sculptural forms which both embody movement and reveal a potential risk : in an unstable state, they could collapse. Adapting the sculptural forms to gravitational pull leads to the search for a point of non-static convergence. It thus becomes possible to create sculpture that exploits the forces of gravity ≪ hidden ≫ within the materials used. The interplay of sculptural elements sustains the elevation, yet also favors the intervention of dark, fatal forces : the fall. Conversely, how is the sculpture able to use instability ? The physical arrangement of forms is such as to spectacularly heighten the effects of gravitational pull : counterbalancing, destabilization, instability, rupture, collapse. The sculpture is an expression, an event and an accident of gravity. Of course, testing the limits of equilibrium can lead to the destruction, real or symbolic, of the work. The inherent risk no longer involves imaginary weight but real weight. There is a genuine risk of collapse.
The search for another way of seeing and of making sculpture is implied through the challenge to the law of gravity, through the precarious balancing of forms. Adhering to a philosophy of ruin is a way of asking the probing and fundamental questions necessary to exploring the relationship between art and the physical cognition inherent in artistic practice.  (JEON Kang-Ok)

JEON Kang-Ok

Solo Exhibitions

2011: Gravity-Inclined Landscape, Ujung Art Center

2010: Gravity, Unbalnced Standing, Grimson Galleries, Seoul

2008: Gravity, Kwanhoon Gallery, Seoul

2007: Laputa II, Lagalerie, Paris, France

2007: Laputa, Espace Icare, Issy Les Moulineaux, France

2005: Salon MAC 2000, Espace Champerret, Paris, France

2002: Balance Instable/Play Divine, MJC Center of Culture, Sceaux, France

2002: Life is Hanging by a Thread. Lagalerie, Paris, France

2002: Multi media 3 (Gravity/Lightness), Donzé Van Saanen, Lausanne, Suisse

2001: Suspend Time, Le Grand Cordel Gallery, Rennes, France

1997: Gravity/Literality, Art et Essai, Rennes, France

1996: Metallic Serpent, Art et Essai, Rennes, France

Selected Group Exhibitions 2011:

-Gift, Seoul Auction, Seoul

-Open Studio, Jang-Heung Sculpture Atelier, Jang-Heung Korea

-Korea International Art Fair, COEX, Seoul

-Recommend a the Artist, Gallery Forest, Seoul

-Dream of Cracker, Beach of Gog-Ji, Tae-An

-International Sculpture Festa, Seoul Art Center, Seoul

-Korea Galleries Art Fair, Coex, Seoul

Residencies

2012-: Rich Studio (Crown Hai Tai)

2009-2011: Jang-Heung Sculpture Atelier, Jang-Heung Korea

2007: Goyang National Art Studio, 4rd long-term Artist

2006-: Atelier des Arches, Issy Les Moulineaux, France

e-mail: dada828@hanmail.net

Kim, Hee soo

▲Greeting, 2011 (168x168cm, oil on canvas)

▲Face, 2011 (91 x 61 cm, oil on canvas)

▲Chuck, 2011 (56 x 71cm, oil on canvas)

▲Boy on Horseback, 2008 (102 x 76cm, oil on canvas)

▲City Hooker, 2008 (152 x 122cm, oil on canvas)

Hee-Soo Kim: A Happiness Verging on Joy

Hee-Soo Kim was educated in Korea, but has made his home in Union City, New Jersey, close to New York City, for a long time. He epitomizes, both in his work and in his person, the artist as free spirit, someone for whom the world is entirely delightful. In his paintings, which more than a few of us would characterize as naive or outsider art, we see an ebullient enthusiast at work; the happiness in his art is palpable and more than likely underscored by Kim’s rough, seemingly untutored style. Yet we know that Kim has made a choice to work as if he were unskilled; in fact, his abilities are not in question (Kim earns a living doing highly developed figurative drawings of tourists in the center of New York). He has a flair for the comic, nearly surrealist creation of basic forms, which he imbues with remarkable intensity and intense happiness, verging on joy.

The humorous, caricatured figures and forms we regularly see in Kim’s art present an innocence that appears untouched by modern and contemporary influences or by the market. His ingenuousness is unforced and genuine. In ‘Empire Dog‘, a woman dressed in a polka dot dress or leopard skin, wearing fishnet stockings and red high-heeled shoes, stands in the middle of the road. She is flanked on either side by buildings, while the sky is painted an angry, apocalyptic orange. Because the work has been painted in a naive style, a powerful experience results. The painting presents a streetwalker from the vantage point of a visionary stance; while we do not in fact know the details of her profession, we are certain that the figure embodies the rough-and-tumble, erotic energy of the city and its never-ending activities.

In another work, entitled Greetings, a cartoonish couple are portrayed as about to kiss. The man wears a baseball hat backwards; it is decorated with an American flag. He is touching the woman’s breast. By contrast, the woman wears a fanciful hat that looks like it is part of a bridge’s construction, while on either side of her, relatively high up on the painting, we see animals: a poodle on the left, and the head of a horse on the right. The numerals “1” and “2” also hang in the air of the orange background. The image, despite or perhaps because of its outlandish forms, is oddly affecting. In a deeper sense, the painting whimsically explores the moment when love becomes more than merely something declared, in fact turning physical. Kim is very good at eroticizing the world via a supposed simple presentation of life, yet his vision is highly compelling because of its directness. We happily witness his art’s mediation of reality through a rose-colored lens, which enables Kim to maintain a visionary innocence in his art. Other images by Kim recreate animals, sometimes more fanciful than real. It is extremely hard to project a believable naivete at this moment in time, given the art world’s market and penchant for cynicism, yet it is true enough that we need something to counter the spiritually jaded nature of the art world. Kim moves us, then, by his honesty and joyous images, which take the viewer to places hard to find in the twenty-first century.

Jonathan Goodman

Jonathan Goodman is a teacher and writer based in New York City; his specialties include sculpture and Asian and contemporary art. He is currently a professor at Pratt Institute.

Kim, Hee soo

1968 Born in Haenam, South Korea.

Live and work in the New York City metro area.

Education

1993 Graduated from the Painting Department, College of Fine Art, Chung Ang University, Korea

Selected Solo Exhibitions

2012 Gallery Soop, Seoul, Korea

2011 Gallery 1 & 9, Ridgefield, New Jersey

2009 Tenri Gallery, New York

2008 KCAF, Hangaram Art museum Seoul, Korea

2006 Space World Gallery, New York

2005 The Roger Smith Lab Gallery, New York

2001 Gallery Kavehaz, New York

2001 Solo Exhibition International Center, New York

Selected Duo Exhibitions

2008 Hee Soo Kim & Hee Sung Yang Mac Gallery, Pusan, Korea

2007 "Ing & Yang" Oms Gallery, New Jersey, New Jersey

2007 Hee Soo Kim & Sea Run Chun FGS Gallery, New Jersey, New Jersey

Selected Group Exhibitions

2009 “Chasing Dreams 56”, Gallery Maum, New York

2009 “Passion & Philosophy,” Yegam Gallery, Queens, New York

2009 “Faces & Facts,” Gallery Korea & Kim Po Gallery, New York

2007 “Object”, Hun Gallery, New York, New York

2007 “Korea NOW”, Hutchins Gallery, Long Island University, New York

2006 Oms Gallery, New Jersey, New Jersey

2005 East Here & Neo Latino, Gallery Korea, New York, New York

2005 “Connection”, Space World Gallery, New York, New York

Park, Kie soo

▲백두산Ⅰ 90.9×72.7㎝ oil on canvas 2008

▲산 이야기 90.9×72.7㎝ oil on canvas 2008

 

The Artwork of Park, Kie-Soo

The Spirit and Energy of Mountains

- Shin Hang-Seop / Art Critic

What does a mountain mean to people? It might not be considered as the universal question because people living in a desert or plain can not see a mountain all their life. For that reason, people living in the Korean peninsula where mountains were placed seventy percent of the country could be very happy in the fact of looking at mountains easily. It is necessary that we recognize mountains as the major term of nature.

Mountains are not only simply being for the beauties of landscape, but also offering multiple foodstuffs to people as an abundant habitat of animals and plants.

In addition, mountains are the mysterious vital habitats of all kinds of hidden creatures in it, giving multiple creative inspirations to the artists in art, literature, and music.

Above all, the artists seek the beauty can be strongly captured by the visual beauty of mountains.

It might be the reason why he has been seeking a mountain as the main theme on his painting, since Park Kie-soo has started painting. In his painting, we can meet the different view of mountain in comparison to common beauty of mountain. Mountains are transformed into the omitted, simplified and condensed image. It was expressed not a form of mountain in everyday sense, but the pictorial image. Therefore, we can not find the natural beauty in his mountain painting. The mountain was expressed by the formative analysis which completely different with a real nature.

Surely, he is not just painting of mountains. Sometimes, he paints a tree, wood, and a flower as the component part of mountain. In spite of that, his artistic image can be inseparable from mountain. It has the reason keeping on mountains as the theme of painting in his 20 solo exhibitions. He has his certain reason why he likes to paint a mountain, rather than that he simply likes mountains. Presumably, it might be connected with his personality.

During opening his 20 exhibitions, as seeing that he just put once the comment of art critic about his painting, because he doesn't like showing himself. However, he had actively exhibited his artwork so many times, and then he suddenly disappeared in the world of artists as the vestige which birds sits on the branch a short while.

We can guess easily about his temper which can be compared with the strong and determined like an appearance of mountain staying silently suffer hardships for a long time. It can be explained the reason why so many courageous men who are not artists frequently go in and out to mountain like their house, that can be explained the masculine power of mountain in catholicity, grandeur and silent. He was indulged in painting mountains during enjoying hiking in the mountains, not only the subject matter, but also the variable forms of mountain. In fact, it was occasionally changing the look depends on the change of seasons, which can offer an abundant subject matter and materials like a fountain that never dried out. Also similar to his lifestyle going regularly to mountain, he was inspired of mountains in the philosophical speculation, which found the other side of magnanimous mountain gathering all little creatures. Mountains have the plentiful nutritions, which evokes the artist's aesthetic inspiration to keep on his creative impulse.

So, the expression of mountain was reflected the artist's will on the painting to embody about the essential matter of life in simple artistic language which does not just simply represent the visual reality. Accordingly, he would express mountain in a general outline and thick matiere, away from perspective and chiaroscuro. It was condensed the inner world by sacrificing of the outer look of mountain constituting with a tree, wood and rock. Therefore, the images of multiple creatures constituting of mountain, that is, the details should omit or hide. Even though it is invisible, it is not nonexistent but contains in the condensed image. He tries to absorb mountains on his painting as the symbol of the endless catholicity that involves all creatures, the sublime appearance and the masculine power. Above all, it is the spirit and energy of magnificent of mountains that is the symbol of dynamic movement. To illuminate the essence of mountain in creative way, it could be limited to the expository real description. In other words, it can be contained the powerful expression of visual image, the sprite of life by the matiere revealing the physical power as it is, or the energy of mountain.

His work from the beginning to the present has been consistently painted in thick colors. And it was expressed in the strong brushwork beyond his capacity. It was achieved in the successive activity applying thick colors to the painting. This can be told about the moral question of expression. In the process of work, the form is out of consideration. The form of mountain was barely revealed by black outlines during repetitive thick brushing of colors. It can be found out that he does not care about the form of mountains, which is not important to enjoy his painting.

Although it has the difference depends on artworks, the touch of brush approaches in very delightful way. It can be stirred naturally the rhythm in the simple succession of the activity fully brushing colors without recognizing the form. The rhythmical touch is very natural. So to speak, the rhythm was related to the self-interest rising above self. The simple repetitive activity brushing colors can be promoted to unite body, emotion and soul together. The expressive achievement in this way is the rhythm of life. The original rhythm of life belongs to God moves into his canvas.

By the way, by this delightful touch, it contains multiple expressions. Depends on artworks, sometime the touch is big and rough, or soft and still. It is not existed any regular rule, but appeared a little different expression accompanying with the time and the instant inspiration during the work. Sometimes, a knife, or a thick brush used it. The image is different whether focus on the expressive emotion, or allow the important meaning to the appearance itself.

However, he focuses on the rhythm of life rather than the outer expression. He puts forth his whole energy into the inner spirit of great nature, that is, the rhythm strongly rocking like a pulse by the expression of brush. The matiere of canvas was made by the repetitive brushwork, and it is natural that the depth is getting deeper.

The layer of colors formed by the repetitive activity can be reflected the depth of mountain in the abyss. Like a geological stratum formed during several thousands.

By overlapping the rhythm of life, the depth of painting is also getting deeper. Although the Visual image, the figure of mountain is steadily simple, the certain absorption force capturing the viewer's mind was arisen in the depth from the layer of colors. It was emphasized the oil painting's depth made by oil colors, and the taste of oil painting. The existence of oily colors can be made by the thick matiere. Sometimes it was enhanced the degree of purity by using a pure color from tubes without mixing colors. As seeing a painting of van Gogh, the color image with a high degree of purity can be approached the fresh vitality of life. This expressing technique can be brought the delightful original spirit of nature, namely, it is the dynamic energy.

In recent his artworks, it shows something different signs in difference to the previous works. The analysis of form and the expressing technique are still there, but the outline is much more distinctive. Thus, the image of mountain and the existence are given stronger and more vigorous impression. Particularly, the outline that revealed more vivid in black can be remarkably suggesting the existence of mountain than the rhythmical sense by the previous brushwork.

In particular, the image of mountain landscapes in the theme of snow scene including Paekdu Mountain is distinctive. It can be summarized his pursuing creative world in obvious way in the snow scene of Paekdu Mountain with deep blue Cheonji and white snow and the black outline revealed the form of mountain.

Generally, it has a very simple landscape, but a very strong impression. In spite of a rare visual reality, it approaches the atmosphere that can not be found in the realistic description. It can be called as the magic of creation in the condensed image without any realistic image. Although the form of mountain can distinguish by the strong and broad outline, which contained the real image of winter Paekdu Mountain.

When we partly look his mountain painting, it can not reveal any specific form but just an abstract image. For that reason, it can be found out that he freely crosses the boundary between concrete and abstract through his mountain paintings.

Clearly, he pursues into the expression of real existence in difference to the unconsciousness or automatic expression. Therefore, it can be shown the clear difference with a pure abstract expression. Even though it strongly appears an abstraction, it is his understanding and impression about a real mountain by the hiking in the mountains. It can be explained about the reason that contains the existence of all creatures constituting mountains, without revealing the specific form.

Now his art is entering a new stage. It was already reflecting his new style in his recent artworks. By applying the outline in a clear way and the color in a simpler way, it is more moderate than his previous works.

It was related to the depth of speculation, for instance, the settlement of consciousness.

In short, it shows the reaching into the inner depth beyond a visual stimulus by moderating the physical power and tuning the emotion. 

박기수

경희대 교육대학원 미술과 졸업 ( 서양화 )

개인전 22회

단체전 500여회

대한민국 미술대전 심사위원역임

국제교류협회 미술대전 심사위원역임

국제아트페어 및 박물관전시(홍콩,이태리,오스트리아,캐나다,

러시아,몽골,중국,독일,프랑스)

국내아트페어 (화랑제,SOAF,각종 호텔아트페어)

Park Ki-soo

 

Graduated from Kyunghee University, Graduate School of Education with a M.A. (Western Painting)

* Solo exhibitions: 22

* Group exhibitions: 500 and some

 

* Member of the Jury for the Korea National Art Exhibition

* Member of the International Art Exchange Exhibition

 

* Participated in international art fairs and museum exhibitions (Hong Kong, Italy, Austria, Canada, Russia, Mongolia, China, Germany, France, etc.)

▲산이야기10호

▲백두산20호

▲독도Ⅰ 72.7×60.6㎝ oil on canvas 2008

Shim, Woong taik

▲체집일기11-13 p20호

▲체집일기11-8 p6호

A Thinking Song

The Pictorial Aesthetics of Shim Woong Taik

Written by Kim Byeong Su, Art Critic

I.

A serious song is a search for something profound. The paintings of Shim Woong Taik are lyrical poems just one step away from the trend, a world seemingly transparent, but in reality painted in dim white colours. It looks as if the world is gently uncovered, but it is nothing but an intended effect. Lines are drawn as if trying to erase something. The scenes depict chilly lyricism like water-colours, but, in fact, they thing of complicated and subtle sentiments with feeble power. They are a fateful softness. They are plants that think : none the less, it is not that the sensitive tendrils chaotically creep over everything. They are sometimes severed and they protrude, in a snap, out of the canvas onto somewhere in the white wall. What you see reveals what you do not see. This is the trail where the traditional concept of Northeast Asian painting encounter the world of cogitation.

II.

The lines and colours of Shim Woong Taik's paintings seem more attentive to melodies rather than rhythms. Instead of trying to heighten the human emotion with repetition or modulation of some musical notes, they rather impress the people with "singing talent." Love and similar traditional values constitute the main themes of heart-moving stories. A different approach of examination produces a new interpretation of this stereotypic theme. He said he did not want to leave the nature yet. Why is the nature suddenly brought up ? Is it about the "mountains and streams" once again? Is it about the nature as a moral perfection or the nature as a flawless phenomenon? He does not seem to insist in viewing the nature under such notions. His world of paintings is far from moral metaphysics. His sentimentalism is just an imagination about objects. A brook is a brook, a pollen a pollen and a spore a spore. Here lies his style of search. A search is not necessarily trying to get an elucidation from above nor a blind wielding of a sword. When asking a question, the target of question or, in other words, the object being questioned, should be protected. Anything that is asked about is important. It should be examined under the patronage of the questioners. This is the style of Shim Woong Taik's thinking. To him, the nature is "the world of materials." It means that his mentality still prefers analogical method and recognizes the existence of different route.

III.

A different road : we always look for it. Or rather we give up after searching for a while and peek into somebody else's road, wishing it to be my own. What do you feel when you hear the explicit outcry announcing the end of analogic way of thinking? What do you feel when even you become inclined to ridicule something analogic as too old fashioned ? We cannot just insist in old values, but the new world seems a bit too much to digest. At this time, solitude is the luxury of the strong. The rule of domination is still intact. Under such circumstances, it is really a "dream" to speculate on the world with paintings. Shim Woong Taik is a "dreaming plant." A dream creeps over the wall of reality, as if a vine gropes in the concealed back of cogitation. "I wanted to do drawing, but I ended up painting," he said, as if longing for the speculation of lines. Lines devide and direct, and at the same time, unveil. Escape from concealment ! An escape can be this beautiful. An intent to break loose from what is hidden. The sense of coolness when a line is drawn with a razor. The shade of lines be came a surface. A song sung is the shade, its sound is a language. Of course there are no lyrics.

IV.

We can learn without hearing. But, we cannot learn if we do not see either. Even when we see, we do not learn too many times. The paintings of Shim Woong Taek are a reflection of beauties of things that are not perfect, nor eternal, nor complete. If you see only the images of brooks, pollens or spores, you miss his songs and you are ignoring his cogitation. It is absurd as well to contrarily prognosticate that his real thoughts are oriented to infinity because his images have tendency of finiteness. What in the world is he singing about ? Is hi singing about a thought on emotion? Sensitivity communicates with the world, but is does not think. Thoughts ponder on the world, but they are not subtle. They are neither funny nor aesthetic. Shim Woong Taik's aesthetical thoughts are subtle, because they are stylish on the one hand and serious and profound on the other. They are twins with irresolute tact and old-fashioned attitude. Maybe that is why "spiritual attitude" is emphasized in the Northeast Asia. Many people express worries. But to the younger generation these worries are just gibberish. To those who can listen, however, they themselves carry meanings. Shim Woong Taek thus traverses the axis of Northeast Asian aesthetics.

심웅택 (Woong-Taik, Shim)

중앙대학교 예술대학 회화과 및 동 대학원 졸업

강원대학교 인문대학 철학과 박사과정(미학전공) 졸업

-개인전 20회

중앙미술대전 역대 대상 수상작가 초대전(호암갤러리)

대상 수상작가전 (국립현대 미술관)

현대 미술 북경전 (Space Da, 798)

한-러 작가 교류전 , 한-인도 작가 교류전

화랑미술제, 남송의 봄 전, China Korea Moren Art Fair(798 art center 706 hall),

상하이 Art Fair, 광화문 국제 아트 페스티벌 참가

SHIM, WOONG TAIK

M.F.A. College of Fine Art, Chung-Ang University

Ph. D Kang-Won University

Artwork Storage Space : Hoam Art Hall, Aners B.D.,

Korean Medical Assocition B.D.

Solo Exhibition 20 times

Awarded Grand Prize Jung Ang Grand Exhibition

Invitional Exhibition of Invited Superior Artist (O-Won gallery)

Invitional Exhibition of Grand Prize Artist Jung-ang Fine Art Public Subscription

Tae-Gu International Biennale Art Show

Preview of 150 Famous Artists(Lotte Art Fair)

China Korea Moren Art Fair(798 art center 706 hall)

Guang Hwa Moon International Art Festival

Gong Ju International Art Festival

Sang Hai International Art Fair

General Director Eco-Healing Sun-Yang International Installation Art Festival

Website http://shim.ivyro.net/

▲체집일기11-6 50호

▲체집일기11-4 p20호

▲체집일기 p20호11-6

JUN, KYUNG-HO (전경호 - 자연)_존재 (Nature-Existence)

자연_존재 (Nature-Existence) 색한지 116.7x80.3cm  자연_존재 (Nature-Existence) 색한지 194.0x112.0cm Individual authors note Artists look to any destination at any time it boils down to the question of their existence through natural sikimyeo recognize their existence. As presented in this exhibition, works from a natural target as a new home samgo nature lives in the presence of nature and life through a self check and the natural order of things in life are created and destroyed by finding So basically natural can not be separated from the present to show symbolically that was called. The image revealed the intact nature, rather than advocate, a natural interpretation in the image with the image of the inner representation of the image expressed by the action of an abstract landscape is like. Whether the multiple layers of color paste dyed with a sharp knife cut into the slope known as the multi-colored waves creating a delicate, it's on the screen horizontally and vertically arranged in a manner that the effects work and a variety of spaces in the tense representation was to . 20 stacked layers of color are dressed as if sections of the rule, such as sediment, horizontal and vertical rhythm while Ginny is spread out like ripples on top of the screen. Land in the mountains, the natural form and movement of life, against a background containing the form of trees, fields, roads, winds flow zone without being tied to a fixed format is an attempt to seek novelty. And perfect for the existence of natural spontaneity and a sense of order, accompanied with its own unique way, and we tried to devise a new form. Saekhanjiui strong contrast, the rough researched tactile performance, simplified geometry, and symbolized the harmony of colors, including warm condensed chansaekgwa beauty of painting is characteristic of this work immediately. Visual images of the work to be felt in the natural folds of color reminiscent of faces, and a myriad of small wrinkles space-like nature unfolds. Color is a traditional ingredient in a mixture of modern materials depicted lines and faces as much as it can not be compared to what is natural. Also, enjoy the scenery images that are representative in nature, to feel beautiful lines and dots and geometric iconography, gokseonhwa a straight line is condensed due to adjusting the strength of beauty that is the subject in pursuit of new forms of work, the dual narrative through time and space, and Eastern and Western sensibilities and a keen sense of inner harmony and lyrical expression by meeting the East was to represent the spirit world. It haenaegi derive inspiration for new paintings exploring the life and work, and my part of efforts to unify is not only. 전 경 호  JUN, KYUNG-HO 1990중앙대학교 예술대학 회화과 졸업 1994일본 다마미술대학원 미술연구과 회화전공 졸업 개인전 (SOLO EXHIBITION) 2012 심상풍경. 기획초대전(에뽀끄 갤러리, 서울) 2010 통큰 갤러리 기획초대전(통큰 갤러리, 서울) 2008 이화 갤러리 기획초대전(이화 갤러리, 서울) 2007장은선 갤러리 기획초대전(장은선 갤러리, 서울) 대안미술공간 소나무 초대전(대안미술공간 소나무, 안성) 2003한원미술관 기획초대전(한원미술관, 서울) COVAN ART GALLERY 기획초대전(COVAN ART GALLERY, Canada) 2002MOHRI GALLERY 기획초대전(갤러리 MOHRI 초대, 일본, 동경) 갤러리 ARTS WILL 기획초대전(갤러리 ARTS WILL, 서울) 2001MOTO 갤러리 기획초대전(갤러리 MOTO초대전, 일본, 동경) 단체전 (GROUP EXHIBITION) 2011 Art Syuthe전 (봉산문화회관 1,2전시실) 동강현대작가 초대전(영월문화예술회관) 2011 Who is Who전(호수갤러리) 2010 Art Syuthe전 (봉산문화회관 1,2전시실) 2010 협성대 교수작품전 (제3교육관1층 아트갤러리) 중국 하남사범대학교 미술학과, 협성대학교 예술대학 작품교류전시 (중국 하남사범대학교 전시실) 2010 Who is Who전(정글북아트갤러리) 2009 현대미술 한.일전 (한전프라자 갤러리 2층 기획전시실) Art Syuthe전 (봉산문화회관 1,2전시실) 백석 예술대학 교수 작품전 (경향 갤러리) JUN, KYUNG HO 1990B.F.A. Department of Western Paimting, College of Arts, Chung Ang University, Seoul, Korea 1994M,F,A. Completed the master Course in Fine Arts at Tama Art University, Tokyo, Japan SOLO EXHIBITION 2012 landscape images. Planning Exhibition (eppokkeu Gallery, Seoul) 2010 Tongkeun Gallery Invitational Exhibition (tongkeun Gallery, Seoul) 2008 Ehwa Planning Exhibition Gallery, Seoul, Korea 2007Jang Eun Sun Planning Exhibition Gallery, Seoul, Korea Planning an alternative art space, Pine Invitational, Anseong, Korea 2006Incheon Art Falr, Iacheon Culture, Arts Center, Incheon, Korea 2003Museum Planning and Exhibition Hanwon, Seoul, Korea Planning Covan Art Gallery Exhibition, Canada Sagan Planning Exhibition Gallery, Seoul, Korea 2002Mohri Planning Exhibition Gallery, Tokyo, Japan GROUP EXHIBITION 2011 The Exhibition of Art Syuthe. BongSan Culture, Daegu, Korea. emporary AContrtist Exhibition Dong Gang. Yeongwol Art Cultural Center. Yeongwol, Korea. 2011 Who is Who in (Lake Gallery). 2010 The Exhibition of Art Syuthe. BongSan Culture, Daegu, Korea. Hyeopseongdae Faculty Exhibition 2010 (3rd Floor Education Center, an art gallery). China Henan Normal University, Department of Fine Arts, University, work exchange exhibitions Hyupsung.(Henan Normal University, China ExhibitionHall) 2009 The Exhibition of Contemporary Art Korea. Japan. Kepoco Plaza Gallery, Seoul, Korea The Exhibition of Art Syuthe. BongSan Culture, Daegu, Korea The Exhibition of professor Works Baekseok Arts University. Kyung Hang Gallery. Seoul, Korea 2008 The Invited Exhibition of International Art Center 2008 China. Korea art Exchange Interchange. Peking International Art Center. Peking,China The Exhibition of Art Syuthe. Dagu art Cultural Center. Daegu, Korea ▲자연_존재 (Nature-Existence) 색한지 194.0x112.0cm ▲자연_존재 (Nature-Existence) 색한지 91.0x65.0cm ▲자연_존재 (Nature-Existence 색한지 116.7x91.0cm ▲자연_존재 (Nature-Existence) 색한지 116.7x91.0cm ▲자연_존재 (Nature-Existence) 색한지 53.5x41.0cm