JUN SEOK KANG
EVER YOURS
PART 1: AUG 7-28, 2022
PART2: SEP 7-25, 2022
EVER YOURS
PART 1: AUG 7-28, 2022
PART2: SEP 7-25, 2022
EVER YOURS
The new philosophy spread by the generation Z who are leading a modern culture has created a so-called mantra that we should prioritize individual’s happiness and sense of accomplishment. Rather than chasing higher position or higher salary, they come to realize the value of a simple hobby not requiring much time, a brief but genuine break, and travel. Living in contemporary era, Kang also is challenging himself to paint and relax at the same time.
“My work began from my inner desire to be relaxed.
I pursued a little bird staying in a well, a small cottage or palace, which is desolate,a barn, and a church that I think might be unknown except for me.
I used to take comfort from drawing such images.”
In traveling in Jeju Island, he happened to discover a landscape in reality which was perfectly suited to his imaginary ideals. He moved to Jeju, and started his journey to build his own utopia.
He paints a landscape in a distance first, then magnifies the figure in the landscape. Kang often makes combinations of landscapes and figures in horizontal or symmetric composition. Figures that stand facing each other or in pairs allow the audience appreciate the work in a well-balanced mood. And gentle outline which looks like it is spreading due to his technique to add paints multiple times all present the sense of stability and function as an assistant helping relaxation.
PART 1 :
A pure white house placed in the center of the complete horizon symbolizes the safest space which is repeatedly shown in his works. In the center of the canvas, it balances weight giving stability to the audience.
Seas, lakes and green fields, which are also frequently used element in his paintings, are very close to his real life, however, he doesn’t simply reflect them as they are. Interacting with his surroundings, he reconstructs them to create more idealized land of his own. This alternative world then liberates the audience from the burden and frustration in real life.
PART 2 :
Throughout the paintings, the audience meets somewhat mysterious characters. As if he insists the burden of real life is in adults’ hands, he deliberately makes his subjects as pure existence. They carry various objects that always was around our childhood or wear animal costume themselves. The childlike figure in his painting is an object in which his desire to be an innocent child free from the pain of reality is reflected.
Kang, however, is not satisfied with escaping through a temporary relaxation by the utopian landscape and childlike characters. Figures with big eyes in child’s body and clothes may look like a pure child, but it also reminds the audience of a master seeming philosophical. Rather than being Peter Pan hid in Neverland, it is closer to be a baby Nietzsche who discovered something important inside, rising above the worldly values.
Through their eyes, Kang is arousing a weighty question about our life and value in a beautiful and peaceful way. Kang speaks a social aspect in our time that we try to keep inner peace amid the pain of reality on his canvas. Walking in the woods, sky, and lakeside along with the characters in the paintings, we will live another day holding a silver lining in our hearts.
The new philosophy spread by the generation Z who are leading a modern culture has created a so-called mantra that we should prioritize individual’s happiness and sense of accomplishment. Rather than chasing higher position or higher salary, they come to realize the value of a simple hobby not requiring much time, a brief but genuine break, and travel. Living in contemporary era, Kang also is challenging himself to paint and relax at the same time.
“My work began from my inner desire to be relaxed.
I pursued a little bird staying in a well, a small cottage or palace, which is desolate,a barn, and a church that I think might be unknown except for me.
I used to take comfort from drawing such images.”
In traveling in Jeju Island, he happened to discover a landscape in reality which was perfectly suited to his imaginary ideals. He moved to Jeju, and started his journey to build his own utopia.
He paints a landscape in a distance first, then magnifies the figure in the landscape. Kang often makes combinations of landscapes and figures in horizontal or symmetric composition. Figures that stand facing each other or in pairs allow the audience appreciate the work in a well-balanced mood. And gentle outline which looks like it is spreading due to his technique to add paints multiple times all present the sense of stability and function as an assistant helping relaxation.
PART 1 :
A pure white house placed in the center of the complete horizon symbolizes the safest space which is repeatedly shown in his works. In the center of the canvas, it balances weight giving stability to the audience.
Seas, lakes and green fields, which are also frequently used element in his paintings, are very close to his real life, however, he doesn’t simply reflect them as they are. Interacting with his surroundings, he reconstructs them to create more idealized land of his own. This alternative world then liberates the audience from the burden and frustration in real life.
PART 2 :
Throughout the paintings, the audience meets somewhat mysterious characters. As if he insists the burden of real life is in adults’ hands, he deliberately makes his subjects as pure existence. They carry various objects that always was around our childhood or wear animal costume themselves. The childlike figure in his painting is an object in which his desire to be an innocent child free from the pain of reality is reflected.
Kang, however, is not satisfied with escaping through a temporary relaxation by the utopian landscape and childlike characters. Figures with big eyes in child’s body and clothes may look like a pure child, but it also reminds the audience of a master seeming philosophical. Rather than being Peter Pan hid in Neverland, it is closer to be a baby Nietzsche who discovered something important inside, rising above the worldly values.
Through their eyes, Kang is arousing a weighty question about our life and value in a beautiful and peaceful way. Kang speaks a social aspect in our time that we try to keep inner peace amid the pain of reality on his canvas. Walking in the woods, sky, and lakeside along with the characters in the paintings, we will live another day holding a silver lining in our hearts.
YANG DU
CHILDREN WITHOUT INNOCENCE
JULY 10-31, 2022
CHILDREN WITHOUT INNOCENCE
JULY 10-31, 2022
CHILDREN WITHOUT INNOCENCE
In this exhibition, the artist speaks about how we are connected to the complex relationship between our youth and adulthood. Throuout the paintings, she transforms herself into different adventurers, searching for a better way to grow up. The narratives are personal but universal, unfamiliar but somehow familiar.
Yang Du’s paintings invite us to her virtual space where we meet her interpretation of philosophical and psychological ideas. Her methodology is that she first simulate the forms of characters and layout of the scene with the latest 3D modeling software, and paints with traditional oil color on canvas, which emphasize the link between tradition and innovation. Complex relationship between figurative and abstract, past and present, virtual and reality creates unreal tone evoking the viewer’s senses in where art and human being intersect.
In the society where everything is more focused on appearance than inner side, the artist keeps dealing with various strata of soul-searching. It seems she realized the introspection is the force for growth and innocence of childhood can be source of creation. In a wider(broad) scope, the connection to the past, present, furture is considered the main source of inspiration in Yang Du’s performative process of painting . Through “Children without Innocence” the artist retrospects her childhood but also embrace her current while being optimistic about the future.
“Sometimes be like a struggling youth, sometimes like a casual older man,
but always live like a child, without regret to follow my heart.” - Yang Du
In this exhibition, the artist speaks about how we are connected to the complex relationship between our youth and adulthood. Throuout the paintings, she transforms herself into different adventurers, searching for a better way to grow up. The narratives are personal but universal, unfamiliar but somehow familiar.
Yang Du’s paintings invite us to her virtual space where we meet her interpretation of philosophical and psychological ideas. Her methodology is that she first simulate the forms of characters and layout of the scene with the latest 3D modeling software, and paints with traditional oil color on canvas, which emphasize the link between tradition and innovation. Complex relationship between figurative and abstract, past and present, virtual and reality creates unreal tone evoking the viewer’s senses in where art and human being intersect.
In the society where everything is more focused on appearance than inner side, the artist keeps dealing with various strata of soul-searching. It seems she realized the introspection is the force for growth and innocence of childhood can be source of creation. In a wider(broad) scope, the connection to the past, present, furture is considered the main source of inspiration in Yang Du’s performative process of painting . Through “Children without Innocence” the artist retrospects her childhood but also embrace her current while being optimistic about the future.
“Sometimes be like a struggling youth, sometimes like a casual older man,
but always live like a child, without regret to follow my heart.” - Yang Du
SPIME
EVERY DAY IS A NEW DAY
JUNE 5-26, 2022
EVERY DAY IS A NEW DAY
JUNE 5-26, 2022
EVERY DAY IS A NEW DAY
Born in Montreal, Canada, and grew up in Hong Kong, Spime constantly seeks to bridge a gap between two cultures. Experiencing the cultural diffrences repeatedly as she tries to belong, Spime got a self awareness as a diaspora, which led her to creating her own world where she can float across the boundaries of time and space.
Spime's painting is characterized by figures in a whimsical shape, artificial hues, and flatness. While the main figure plays a central role in each work, the background remains as unknown place that leads the viewer to mull over the meaning of the images. With the recurring motifs throughout Spime's paintings - the border between day and night, fruits that evoke color prejudice, orbs implying glances - the artist speaks about our desire to belong and contemporary emotional states in a sequenced narrative.
In this exhibition, Spime shows the beauty of disparate elements in surreal way. Each figure starring forward gives the viewer a sense of being otherized and asks question about asymmetry gender, cultuer and power. The artist is challenging herself to find a value of diversity and search for the magic and strange beauty in the unexpected and the uncanny of emergent belonging.
Born in Montreal, Canada, and grew up in Hong Kong, Spime constantly seeks to bridge a gap between two cultures. Experiencing the cultural diffrences repeatedly as she tries to belong, Spime got a self awareness as a diaspora, which led her to creating her own world where she can float across the boundaries of time and space.
Spime's painting is characterized by figures in a whimsical shape, artificial hues, and flatness. While the main figure plays a central role in each work, the background remains as unknown place that leads the viewer to mull over the meaning of the images. With the recurring motifs throughout Spime's paintings - the border between day and night, fruits that evoke color prejudice, orbs implying glances - the artist speaks about our desire to belong and contemporary emotional states in a sequenced narrative.
In this exhibition, Spime shows the beauty of disparate elements in surreal way. Each figure starring forward gives the viewer a sense of being otherized and asks question about asymmetry gender, cultuer and power. The artist is challenging herself to find a value of diversity and search for the magic and strange beauty in the unexpected and the uncanny of emergent belonging.
RENA KUDOH
UNDEPENDABLE GARDEN
MAY 17-29, 2022
UNDEPENDABLE GARDEN
MAY 17-29, 2022
UNDEPENDABLE GARDEN
Rena Kudos’s explorations are guided by her life experiences in different residences and daily surroundings.
Her sculptures have always been extracted from both experience and imagination and characterized by personification and ambiguous identity. This exhibition features eleven sculptures portraying imaginary hybrid creatures inspired from the artist’s gardening experience.⠀
“It was a dry, parched place at first, but after a little tilling the soil and planting the germinated seeds, it began to thrive. Sometimes cats visited there to poop. Many insects also started to come.. The bugs were constantly moving around. Everything in the garden was settling down in a short span of time and I felt it like a microcosmos.”
Rena Kudos’s explorations are guided by her life experiences in different residences and daily surroundings.
Her sculptures have always been extracted from both experience and imagination and characterized by personification and ambiguous identity. This exhibition features eleven sculptures portraying imaginary hybrid creatures inspired from the artist’s gardening experience.⠀
“It was a dry, parched place at first, but after a little tilling the soil and planting the germinated seeds, it began to thrive. Sometimes cats visited there to poop. Many insects also started to come.. The bugs were constantly moving around. Everything in the garden was settling down in a short span of time and I felt it like a microcosmos.”
︎LIST OF ARTWORKS
︎BIOGRAPHY
︎BIOGRAPHY
SEUNG HYUN KIM
COMPOSITION, SPRING, 2022
APRIL 16-30, 2022
COMPOSITION, SPRING, 2022
APRIL 16-30, 2022
COMPOSITION, SPRING, 2022
Contiuously experimenting with the interest in correspondences between meaning of text and visual experience, the artist created his new body of works entitled ‘Composition, Spring 2022’.
In the exhibition, the artist presents 17 compositions of lines and dots. He borrowed the ‘conceptual score’ from Fluxus artists for this series. In each work, he invited one sentence as instruction, and carried out the instruction on the canvas using oil bar and sponge roller. This series shows the link between the text and images applied on the canvas, where his interpretation of text allows various compositions with different nuances. Along with a set of variations by Kim, we wish the viewer to experience infinite associations triggered by lines ant dots.
Contiuously experimenting with the interest in correspondences between meaning of text and visual experience, the artist created his new body of works entitled ‘Composition, Spring 2022’.
In the exhibition, the artist presents 17 compositions of lines and dots. He borrowed the ‘conceptual score’ from Fluxus artists for this series. In each work, he invited one sentence as instruction, and carried out the instruction on the canvas using oil bar and sponge roller. This series shows the link between the text and images applied on the canvas, where his interpretation of text allows various compositions with different nuances. Along with a set of variations by Kim, we wish the viewer to experience infinite associations triggered by lines ant dots.