Group Exhibition [BANK ART FAIR] Island Shangri-La, Hong Kong

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Content Group Exhibition [BANK ART FAIR] Island Shangri-La, Hong Kong
Year 2013
수량 수량증가수량감소

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2013.05.23-2013.05.27

개인결제창을 통한 결제 시 네이버 마일리지 적립 및 사용이 가능합니다.

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Group Exhibition [BANK ART FAIR] Island Shangri-La, Hong Kong 수량증가 수량감소 2013 (  0)
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[BANK ART FAIR] Island Shangri-La, 홍콩, 2013
.
银行艺术博览会]香格里拉、香港
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[ARTIST HYUN-JUNG KIM]"THE STORY OF FEIGN" BANK ART FAIR, ISLAND SHANGRI-LA, HONG KONG

 



 

 

 

 

 Self Search through Faux-Naif(Feign)

by Doctor of Philosophy, Majored in Aesthetics Baek, Yun-Su


As we often experience, that’s the way the cookie crumbles in this world. Due to unexpected errors, something we never expected happens or it causes misunderstanding.

Because of this, we are opening up opportunities in creating stress. Nonetheless, we feel human attraction and a sense of kinship, and share a feeling of solidarity between people who learn by trial and error.

In addition, from a different point of view, such errors might be positively necessary in our daily lives. And we need both breadth of mind and wit that errors make us turn the misfortune to our advantage.

This process is seen in <Oops>, and we would be embarrassed if our shoe suddenly came off while we were walking with our hands full of shopping bags.

More interestingly, in case the switch of a portable gas range is off but it is faintly lit, it may be common mistakes while being absorbed in drawing a picture.

 Through her extemporaneous ability that it has changed as the title Oops, we come to feel Kim’s peace of mind that she accepts a moment’s error and resolves it with humor.

However, the efforts that we pay careful attention to setting up relationships with others and maintain smoothly, make us tired and tiresome all the time.

Accordingly, rather than always pursuing it, we need to have free time for relaxing our body and soul, with empty of ideas.

In <Vacancy(Vacantly)>, the artist fully shows such state that our mind goes blank and further, we don’t even want to think about anything, yet we are non-drowsy and indulge in a distraction.

Kim mostly adopts the development of themes without background, and this method is traditional one that is typically introduced in <Pungsokhwacheop> by Hong-Do Kim,

which effectively presents both beauty of blank and subject. And there are various poses in the subject’s face looking towards the right side or the left side, downwards or upwards,

which shows her confidence in using a paintbrush. Also, both the flowing lines and the skillful use of Indian ink and thin coloring show that she aims for the stage of Yupilyumuk

(the use of a paintbrush and expression of Indian ink) by Hyeong-Ho. Depicting such subjects largely depends on her power of observation that captures the familiar process

we always experience in our daily life, which plays a very proper role in conveying truth to the viewers. Especially by interestingly revealing subjects without exaggeration,

she shows the strong suggestion that there is something in the picture, beyond merely and beautifully depicting. Looking at the paintings in this exhibition, we can clearly notice that Kim enjoys drawing pictures.

In the Analects of Confucius, Confucius says “Knowing is not better than liking, liking is not better than enjoying.” It is expected that the artist will sublimate her stage into enjoying pictures.



내숭이야기는

고상하고 비밀스러운 한복을 입고

일상적인 행동들을 하고 있는

여인의 장면을 포착하고 있습니다.

인물을 누드로 표현한 후

서양의 콜라주와 동양의 수묵담채 기법을

이용하여 독특한 대비성을 주었습니다.

상의 부분에 직접 염색한 한지를 붙여

한복의 서걱거리는 질감과

하의 부분의 치마는 먹을 이용하여

반투명하게 그려내 몸의 라인을

비치게 드러냄으로

‘그 속이 훤히 들여다보인다.’

는 메시지를 담고 있습니다.



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