4482-2022 [TEN] HOPE

4 4 8 2 [ S A S A PA R I ]

[ TEN] HOPE

[ TEN] HOPE

THE 10TH EXHIBITION S I N C E T H E 4 4 8 2 [ S A S A PA R I ] ’ S I N C E P T I O N 19 - 24 OCTOBER 2022 | GALLERY@OXO

CONTENTS

HISTORY

_6

PREFACE

_8

BETTY KIM

_ 10

BUFFY KIMM

_ 16

HANNA TEN DOORNKAAT

_ 20

HYEMIN PARK

_ 24

JACK LEE

_ 28

JOY JO

_ 32

MI-YOUNG CHOI

_ 36

SOON YUL KANG

_ 40

HISTORY 2007

2 008

2010

2011

Title

Title

Title

Title

The Open Studio

Exhibition of emerging Korean artists in London

Korean contemporary artists in London

‘Rhizophere: Directions in Motion’

Location

Date

Date

Date

King’s Park Studio, 152-178 Kingston Road, New Malden, KT3 3ST

16 - 19 October 2008

25 - 28 February 2010

24 - 27 February 2011

Location

Location

Location

Participating artists 10

Bargehouse, Oxo Tower Wharf, London SE1 9PH

Bargehouse, Oxo Tower Wharf, London SE1 9PH

Bargehouse, Oxo Tower Wharf, London SE1 9PH

Title

Participating artists

Participating artists

Participating artists

40

53

54

Date 28 - 30 June 2007

Korean contemporary artists in London

Date 10 - 15 October 2007

Location King’s Park Studio, 152-178 Kingston Road, New Malden, KT3 3ST

Participating artists 19

6

20 1 2

2014

2018

2019

Title

Title

Title

Title

Map the Korea <Mapping Korean contemporary art in British Terrain>

Symposium: A banquet of Korean contemporary art

Buttrtfly Effect

The Other Side of the Moon

Date

Date

Date

Date

23 - 26 February 2012

27 February - 2 March 2014

3 - 6 May 2018

28 - 31 March 2019

Location

Location

Location

Location

Bargehouse, Oxo Tower Wharf, London SE1 9PH

Bargehouse, Oxo Tower Wharf, London SE1 9PH

Bargehouse, Oxo Tower Wharf, London SE1 9PH

Bargehouse, Oxo Tower Wharf, London SE1 9PH

Participating artists

Participating artists

Participating artists

Participating artists

64

38

54

43

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PREFACE

Welcome to 4482, [Ten] Hope exhibition.

4482[SASAPARI], a figure made by combining the international calling codes of the UK (44) and South Korea (82), is the name adopted by a collective group of Korean Contemporary Artists. Since the group’s first exhibition in 2007, as an open studio, 4482 has been a platform of opportunity for over 300 Korean artists working in the UK and showcased the contemporary arts of Korea.

The exhibition [Ten] Hope presents the work of eight artists, exploring their longing sense of hope. In recent years, we have seen an everincreasing crisis around the world. The pandemic has interrupted our daily lives. Climate change threatens our children’s future. The cruelty of war has destroyed the lives and homes of many people.

Soon Yul said, “During the time of the pandemic, I have been dwelling on how humans relate to their surroundings and how people relate to each other, to animals and to nature. I have been reflecting on the emotional and physical distancing that people employ and the issue of insider or outsider or in-betweener that people practice in belonging communities.

These thoughts have motivated me to create handwriting calligraphy works.”

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Also, Hanna said, “The pandemic has had an impact and made her experiment more freely with the supporting media by using often less conventional surfaces to paint, scratch and draw on as well as recycled and found materials.”

It was the sky, the nature, the things that surrounded us but which we ignored easily, and one’s own space that made us feel hopeful. It was not about the word, but the emotional stability and the relationships between me and you.

Therefore, ‘Hope’ in this exhibition captured the sense of hope in the art scene. Through thought-provoking artworks, 4482 wants to display ‘hope’ that comforts us and inspires us to dream of a better future .The exhibition shows hope for peace and harmony against war, and talks about the path of humanism.

Curator, Geesun Hahn

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BETTY KIM www.bettykimillust.com bettykimillust@gmail.com 2022

BA Illustration Middlesex University London London, UK

2022

Bronze Award Creative Conscience, London, UK

2022

D&AD New Blood Award London, UK

2017

Foundation Diploma in Art & Design, Kingston College London, UK

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Hyangsu “향수” 2, 2021, 2 mins, Animated video

The word ‘향수’ or ‘Hyangsu’ means ‘nostalgia’.

In this 2 minute animation, Betty provides

sense of connection to their heritage, what it

a brief visual insight into her attempts in

feels like to live with the cultural differences

digesting the complex ‘roots’ of her Korean

between the two countries and how these

identity as a second generation British-Korean

experiences and concepts intertwine and

diaspora. The animation is based on a 40

manifest within to create a growing sense of

minute conversation between Betty and

acceptance and affinity towards her complex

her best friend where they talk about their

cultural identity.

thoughts and experiences of: what it means to be ‘Korean’ and ‘British’, the idea of ‘home’, feelings of in-betweenness and wayfaring, how learning the Korean language provided a 11

Relationships: Lovers in the making, 2022 300 x 300 x 10 mm, White honeycomb cardboard

Relationships Using the faces of characters in films and dramas, this series aims to portray the emotional complexities of relationships that one encounters in day to day life: mother and son, lovers in the making, lovers drifting apart and teacher and student. With each piece acting as a window to the stories of the chosen characters, each in their own complex cultural or historical narrative contexts, the pieces are in essence, a collective expression capturing moments of hope and emotional connection between two people.

Relationships: Past lovers, 2022 300 x 300 x 3 mm, Brushed aluminium

As the paintings are projected on different surfaces and textures, we can experience an added layer of expression to these moments.

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Relationships: Mother and son, 2022 300 x 300 x 18 mm, Premium birch plywood

Relationships: Teacher and student, 2022 290 x 290 x 3 mm, Inkjet printing on card and paper

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I Don’t Condemn You, 2022, 420 x 594 mm, Giclée print

Betty meditated over the stories and biblical narratives of three women: the sinful woman who poured perfume and her tears over Jesus’ feet and wiped them with her hair, the woman caught in adultery and Gomer, the cheating wife of the prophet Hosea who betrayed him over and over again. Betty projected the image of these women unto an image that resembled her likeness.

This ironically, in converse, led Betty to her own repentance. So that the woman we see, lies like a child reborn on a blanket as white as snow. (John 7:53-8:11) (Luke 7:36-8:3) (Hosea) 14

Sarah, 2022, 594 x 841 mm, Oil Pastels on sugar paper

The model stares at the viewer with a firm expression.

Using vibrant oil pastels against the gritty texture of the dark sugar paper, the traces of rough marks and strokes are retained and preserved, creating the lively appearance of an impression captured of the model from life.

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BUFFY KIMM www.buffykimm.co.uk

2019

Exhibition for 2 artists <The Spaces In Between> BBK Gallery Oldenburg, Germany

2019

Group Exhibition <Lines etc...> One Paved Court Richmond, UK

2017

Group Exhibition <White Noise> The Crypt Gallery London, UK

1975

BA 3D Design Kinston Polytechinic London, UK

buffykimm@hotmail.com

Kimm takes inspiration from the obscure and

metal and wood; creating three-dimensional

unusual, using both nature and architecture

works that play with light and shadow. She

as sources through photography. She likes

also uses etching as medium and again,

to experiment with differing media to explore

takes inspiration from photography. Her work

innovative expressions for her work.

is both experimental and playful.

She aims to inspire the viewer to look more

SBP 3 4 5 is a triptych made from hand-cut

carefully at their surroundings and to see what

Fabriano paper on acrylic. In these works,

is actually there, but is perhaps not obvious.

she wants to highlight the plight of the planet,

She tries to find what others leave unnoticed

global warming and climate change, by

and uses her photography as a springboard

representing our fractured world in this trio

to create works that reflect the magic that is

of images. These pieces depict melting ice

there to be seen, but is often ignored.

floes, cracked earth and erosion.

Currently she is working in card, paper, found 16

SBP 345 Triptych, 2018, 620 x 420 mm each, Fabriano paper on acrylic

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Rust and Spikes 1, 2021, 450 x 350 mm, Rusted metal and recycled MDF

Rust and Spikes 1 is created from found metal, rusted over time, and recycled MDF. Kimm collects discarded materials and creates new artworks from this unwanted detritus. She wants to represent the coexistence of erosion along side the potential for recycling, juxtaposing natural erosion with manmade complexity.

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Discarded 5, 2019 600 mm diameter, Rusted metal, recycled MDF and recycled rubber tyre

Vortex 1, 2019, 600 mm diameter, Recycled MDF

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HANNA TEN DOORNKAAT www.tendoornkaat.co.uk

2022

Solo Exhibition <Ezra Maas, Nothing Is More Real Than Nothing> Gallery 46, London, UK

2021

Solo Exhibition <Dissonance + Harmony> &Gallery, Edinburgh, UK

2019

Personal Structures GAA Foundation Venice Biennale, Italy

2002

MA Sculpture Wimbledon College of Arts University of the Arts London, London, UK

tendoornkaat@me.com

‘Out of the frame’ is another of ten Doornkaat’s play with the ‘between’. It’s a drawing but also at the same time a 3D object which had it’s Out of the Frame, 2021 840 x 800 x 20 mm Acrylic, ink, canvas, board and recycled stretcher frame

20

focal point altered by ‘drawing’ the viewers attention to the edge and off centre.

The title of the work ‘The ugly face of beauty’, which is typical for ten Doornkaat’s use of the most mundane possible materials, is a direct reference to the theory of the philosopher Imanuel Kant who in his book ‘Critique of Judgment’ sought to clarify what aesthetics meant. She tried to work out how to analyse beauty, as well as taste and the sublime. She concluded that there is no scientific rule for determining what beauty is, as it is subjective, and in the eye of the beholder.

The Ugly Face of Beauty, 2022 300 x 800 x 50 mm Ink, recycled honeycomb krafts paper, stretcher and framed with museum glass

21

Downside up, 2022, 220 x 350 x 30 mm Gesso, ink, recycled cardboard box, and honeycomb cardboard backing

22

Bag for Life, 2022 200 x 370 x 30 mm Gesso, ink and brown paper bag

Disrupted, 2022 200 x 300 x 20 mm Gesso, ink and canvas

23

HYEMIN PARK www.hparkart.com h.flyingnet@gmail.com 2019

Solo Exhibition <Ordinary Nations> Space 55, Seoul, South Korea

2016

Solo Exhibition <Way of Leaving> Space CAN, Seoul, South Korea

2009

MA Fine Art Chelsea College of Art and Design University of the Arts London London, UK

2008

BAF Fine Art Ewha Womans University Seoul, South Korea

‘Daily Post’ is a project which captures the artist’s everyday life. Hyemin moved to Ottawa, Canada, during the pandemic and her daily drawings depict how the pandemic interrupted our lives. In this exhibition, she shows nine drawings from her drawing project ‘Daily Post’

24

Daily Post , 2021 210 x 148 mm each, Pen on paper

25

26

‘Ways to spend time in 2020’ is a contact-free collaborative project organized by Hyemin.

Park’s four hand drawings were divided into 48 pieces (12 pieces/each) and were sent out to 48 participants via mail. Each piece was redrawn by a participant not knowing the entire picture. All drawing pieces were collected by the artist and put together to complete the ‘recreated’ drawings. For the artist, it is an alternative way of sharing one’s experience and engaging with people during the pandemic.

Ways to Spend Time, Collaboration work, 2020 210 x 148 mm each, Pen on paper

27

JACK LEE www.jackleestudio.com

2019

Group Exhibition <4482-2019: The Other Side of the Moon> Bargehouse, London, UK

2017

Solo Exhibition <Plato’s Cave> ADM Gallery, Seoul, South Korea

2015

<Kanaval>, Camden Image Gallery London, UK

2015

BA Fashion Photography London College of Fashion University of the Arts London, London, UK

jack@jackandethan.com

Diffusion, 2022, 1200 x 800 mm, Photography

So far, the focus of Jack’s previous work has been on interpreting his surroundings. This is contrasting with his current work, where his main focus has been on internal reflection. It presents the way and the direction of dealing with the world, to discover and explore the rapidly changing modern society. Jack decided to name this direction and the attitude of his work as ‘Diffusion’. Perhaps, his ‘Diffusion’ may initially come across as relaying something which is beautiful and pleasant. But in fact, it represents the world filled with intricate intersecting layers of reality and alternate perspectives.

This may represent a harsh and despairing reality with challenges for someone, but his vision was to show something different.

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Through his interpretation, he wish to unfold the beauty of our chaotic world.

We all face the challenging reality in our day-to-day lives. Each to their own, we all solve these situations in our unique way. Some choose to endure on their own, and some may choose to drag themselves across the world filled with disarray, just to survive. However, if you can just discover a new perspective of recognising the subtle beauty of our lives, Jack believes that we will all be somewhat happier in living through this harsh world.

Our world is filled with challenging issues. From Covid-19, Ukraine-Russia War, hiking interest rates to climate challenges, to name a few. Despite these challenges, Jack hope that through my perspective in “Diffusion”, viewers will be able to see the world in a warmer atmosphere like a ray of light through the clouds.

Diffusion, 2022, 1200 x 800 mm, Photography

29

Iceland and Jan, 2015, 1500 x 750 mm, Photography

Iceland and Jan, 2015, 1500 x 750 mm, Photography

30

Arizona and Jun, 2017, 1500 x 1250 mm, Photography

Arizona and Jun, 2017, 1500 x 1250 mm, Photography

With the visual system given for us human beings, it is impossible to observe a certain objet in its complete form. On the other hand, a device widely known as “camera” can be stated at the position where it can capture and depict any objet in the most precise and honest way possible. Moreover, the public has the tendency to believe such depictions. Photographer Jack Lee attempts to pose questions and study about everything the public sees.

31

JOY JO www.instagram.com/artistjoyjo artistjoyjo@gmail.com 2021

Solo Exhibition <The Mindscape> Far Beyong Gallery, Seoul, South Korea

2011

Invited Artist in Residency KMI Mecklenburg Inspiriert Kühlungsborn, Germany

2011

MA Illustration & Animation Kingston University London London, UK

2015

BFA Visual Communication Design College of Fine Art, Hongik University Seoul, South Korea

Home, 2022, 1:04 sec, Video based on acrylic painting

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‘Home’ is the work in collaboration with famous Korean R&B musician Ra.D, and the following lyrics were completed with the keywords ‘Home, I, space, universe, future, inspiration, life’. After hearing Ra.D’s sound sketch for the first time, Joy Jo completed the visual image first, and derived the final result with keywords extracted based on it.

The planet where artistic inspiration never dries up means her and her space.

Beyond those days when Joy was suffering from longing for my own space, these days, she has several spaces where she can lay down her body and thoughts comfortably.

Instead of anger and lack, gratitude and awe permeated the reconstructed mindscape.

According to astrologers, ‘The Era Of Wind’ is a period corresponding to the next 200 years from 2021, and unlike ‘The Era of Earth’ in which we were born and lived so far, fairness, equality, technology, and innovation will become the majority of concepts. Joy and the artists around her felt a great change along with blockchain and NFT, and many new opportunities were created in recent years. She tried to express this big change of flow with air and wind.

Personal Space, 2021, 30 sec, Video based on acrylic painting

The Era Of Wind, 2021, 15 sec, Video based on acrylic painting

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The surfing and surfer series worked while reminiscent of the constantly repeating waves. The movement of the surfer who rides the flow of a big wave by becoming one with the waves and waves are seen from afar is intuitively expressed.

A Surfer, 2022, 606 x 727 mm, Arcylic on canvas

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The Surfring, 2022, 606 x 727 mm, Arcylic on canvas

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MI-YOUNG CHOI www.youngkearton.com

2022

Group Exhibition <British Painting 3> Bermondsey Project Space London, UK

2019

Solo Exhibirion <Wider than the Sky> Soohoh Gallery Seoul, South Korea

2019

Group Show, Harmony Gallery Shanghai, China

2009

BA Fine Art - Studio Practice & Contemporary Critical Studies Goldsmiths University of London London, UK

youngkearton@hotmail.com

The Space in Between 4, 2022, 850 x 500 mm, Oil on linen

In early adulthood, whilst considering the

for her, with an infinite nature lending itself

decision to change her career path and

to spiritual and existential themes, as well as

become an artist, Mi-Young Choi initially

literal. Mi-Young sees a link between working

worked

abstract

a canvas, and contemplating the sky - the

approach focused on colour and form.

seemingly evolving forms and colours of both

However, in recent years she has incorporated

forever changing, from which ideas can be

more figurative and gestural aspects into her

built and emerge, representing both the subtle

paintings. Still enthralled by colour, she is

and the spectacular. She is also fascinated

drawn to compositions referencing colourfully

by how the sky has been approached in the

rich and dynamic natural phenomenon, such

history of art, and has used it a metaphorical

as sky and sea, and also the vast expanse of

backdrop to many of her recent works.

with

a

predominately

space. The sky holds a particular fascination 36

Spirited Away, 2022, 850 x 1250 mm, Oil on linen

Mi-Young’s practice sits in the middle of an

work, with scope for broad interpretation and

exchange between the World and her inner self

contradictions being channeled by the titles

- which is often an anxious and questioning

chosen for an individual canvas or series. For

dialogue. In terms of choice of subject matter,

her the titles are an important part of the final

associated meanings, and the creative

work, as they can play a part in setting the

process itself, she finds herself both resisting

stage for the viewer’s interpretations of any

and embracing change. What she hopes to

narrative inferred. Alongside the question of

achieve with a work can evolve over a long

any “deeper meaning” conveyed though, Mi-

period of time as she works incrementally.

Young’s work is often an exploration of the

Mi-Young’s work is often inspired by current

phenomenon of colour and the medium of

events and history, though ambiguity and

paint itself.

loose metaphors are prevalent in much of her 37

The examples exhibited here are from a set of “blue series” - where a colourblended backdrop symbolizing the sky or ocean depths stages compositions made from allegorical motifs and gestural acts.

Breaking Silence-Beyond Belief, 2022, 850 x 1250 mm, Oil on linen

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If We All Keep Silent-We May All Sink 5, 2022, 1100 x 1500 mm, Oil on linen

Get Together, 2019 400 x 500 mm, Oil on canvas

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Bail Out, 2021 410 x 510 mm, Oil on canvas

SOON YUL KANG www.soonyulkang.com soonyulkang@gmail.com 2022

Duo Exhibition <CUT, COPY, PASTE> Korean Cultural Centre Washington D.C., USA

2021

Royal Academy of Arts Summer Exhibition London, UK

2017

Solo Exhibition <Between Heart & Mind> Han Collection London, UK

1997

MA Visual Arts - Textiles Goldsmiths, University of London London, UK

Soon Yul’s works are concerned with time, healing, and meditation and are influenced by traditional Korean cultural elements. She uses calligraphy and paper collage as her medium and she is also influenced by the Zen understanding of simplicity, stillness, repetition, and rebirth and by the Eastern philosophy of Yin-Yang which teaches the balance and harmony of nature and of the universe. According to the theory of Yin-Yang, all things are said to have two opposing but complementary and cooperative aspects: dark and bright, shadow and light, black and white, invisible and visible, emptying and filling, square and circle, etc.

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WE 1, 2021, 410 x 430 mm, Calligraphy on archival paper

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WE 2, 2021, 410 x 430 mm, Calligraphy on archival paper

During the time of the pandemic, she has been dwelling on how humans relate to their surroundings and how people relate to each other, to animals and to nature. She has been reflecting on the emotional and physical distancing that people employ and the issue of insider or outsider or in-betweener that people practice in belonging communities.

These thoughts have motivated her to create handwriting calligraphy works.

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For the entitled ‘WE’ series, she calligraphed the Korean word of 람[salam]: Human Being repeatedly on western papers. Soon Yul uses the traditional way to make ink for these calligraphy works. Calligraphy in Korea is a visual art reflecting the Korean tradition of artistic writing. The working process is very slow but meditative and this is just as important as the result.

Going Together, 2020, 297 x 297 mm, Calligraphy on paper

From a Distance 2, 2020, 200 x 200 mm, Collage, Korean mulberry paper, ink

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CONTRIBUTORS Managing Director

Sujin Shin enquiry@4482.co.uk

Senior Curator

Seoyoung Kim

Curator

Geesun Hahn curator@4482.co.uk

Commercial Business Advisor

HaEun Nam

Marketing Advisor

Minji Lee

Business Assistant

Chai Hyeong Han admin@4482.co.uk

Project Advisor

Steve Im gmuksk@me.com

Web & Print Design

STORY iN DESIGN sid@storyindesign.co.uk

Photographer

Sekyung Jeong redlinejsk@gmail.com

SUPPORTED BY The Exhibition Organiser’s credit goes to all artists for their spontaneous contributions.

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