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CHAN-IL KIM

ABOUT ARTIST KIM CHAN-IL The recent works of Chan Il Kim emphasize much more on objects and post painterly abstraction. He adhered objects and oil paints doggedly and then minced them thinly. The skin-like canvas dramatically stimulate the viewer's senses of touch and sight. Kim's works are flitting on the boundary of sculpture and painting to obscure it. Eventually, they have a new physical property. These bas-relief paintings are not only optical but also kinetic. Interestingly, Kim is riding the crest of art history and at the same time. getting his own way. - Excerpt from critic by Park,Young Taek (Art Critic,Kyonggi Univ) BIOGRAPHY EDUCATION 1995   M.A.   Print Making, State University of New York, USA 1994   M.F.A.   Painting, State University of New York, USA 1990   M.F.A....

HYUNSEUNG HWANG

ABOUT ARTIST HWANG HYUNSEUNG Looking at every object without thinking about its name and use, anyone will be impressed with the beauty of figure and abstraction hidden in general objects. The abstraction might already be actualized completely in every concrete object around us. Things I draw do not own a name. They are simply just 'things'. I hope viewers can fully feel the property of matter in my drawing. I'm interested in practical and solid force in the existential material world. It is the world felt with the whole body, which is not to be seen as materialistic interest though. The real reason I lay my interest upon materials is that I believe the materials can be a key to the metaphysical world beyond the...

HAEYOUNG CHO

ABOUT ARTIST CHO HAE YOUNG Cho is know for her simplistic but profound paintings that captures her intuition at any random time. She endeavoers to paint her feelings that she felt in unknown and strange places. Cho graudated from Chunnam University in Fine Arts and has won numerous awards and is extremely active in participating in various exhibition both in and outside Korea. BIOGRAPHY EDUCATION 2008   D.N.S.E.P.  Ecole nationale superieure d’arts Paris-Cergy, France 2006   D.N.A.P.  Ecole nationale superieure d’arts Paris-Cergy, France 2004   B.F.A.  Department of Fine Arts, Chonnam National University, Korea     SOLO EXHIBITIONS 2015   Green Grey+Pool Blue (Seloart, Seoul, Korea) 2015   Green Grey (Space K, Gwangju, Korea) 2014   Cinnabar Green Deep (Gallery BK, Seoul, Korea) 2011   Layer Upon Layer (Gwangju Shinsegae Gallery, Gwangju,...

JIYEON SONG

ABOUT ARTIST SONG JIYEON My paintings began from finding my own self. Because I was aware of the incompleteness of the existence of the so-called 'self', I chose the external environment surrounding me as the object which could speak on behalf of myself. I am keeping my eyes on the surrounding environment that always change and develop, not fixed consistently. Having grown in the city, since childhood up to now, although it is a space that is friendly and comfortable more than any other landscape, I don't look at the city in a positive nor negative way. To me, city is the way it is. It is because city is a place which coexisted with myself the moment I had existed. City enables me to possess...

YOUNGROK SUNG

ABOUT ARTIST SUNG YOUNG ROK When asked what makes him draw plum blossoms, Young Rok Sung replies “its mesmerizing fragrance.” He says it was so overwhelming and intoxicating when he first smelled it, that he now travels around Korea visiting them during their full blossom each year. Young Rok’s paintings at first draw the viewers’ attention with its splendor colors, but it also has a subtle touch of sadness in its look. Plum blossoms have short life span, coming and going in less than 3 weeks. During those three short weeks, it shows its heartbreaking beauty… but after that it soon becomes one’s yearning and longing. Or perhaps it’s the distance between the plum blossom and the distant mountains, the artist and the ideal world,...

JIHYE PARK

ABOUT ARTIST PARK JIHYE In her paintings, a woman always takes the central position. When a figure appears, we are likely to look through the face first. But for the artist always show the women from the back, that typical seeing process is to be frustrated. It is at the very moment that the minute and delicate details which attracted the artist's eyes such as the shapes of the muscles and bones in the subtle movement of the bodies, and the floral patterns or lace patterns on the clothes catch our eyes and become the real central motives of the paintings. The reason the artist always draws women from the back might be that she is much more impressed by the bodies, by the countenances...
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