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.”
8
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
9
BETTY KIM
BA Illustration
Middlesex University London London, UK
Bronze Award
Conscience, London, UK
New Blood Award London, UK
Foundation Diploma in Art & Design, Kingston College London, UK
10
www.bettykimillust.com bettykimillust@gmail.com
Creative
D&AD
2022 2022 2022 2017
The word ‘향수’ or ‘Hyangsu’ means ‘nostalgia’.
In this 2 minute animation, Betty provides a brief visual insight into her attempts in digesting the complex ‘roots’ of her Korean identity as a second generation British-Korean diaspora. The animation is based on a 40 minute conversation between Betty and her best friend where they talk about their 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
sense of connection to their heritage, what it feels like to live with the cultural differences between the two countries and how these experiences and concepts intertwine and manifest within to create a growing sense of acceptance and affinity towards her complex cultural identity.
11
Hyangsu “향수” 2, 2021, 2 mins, Animated video
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.
As the paintings are projected on different surfaces and textures, we can experience an added layer of expression to these moments.
12
Relationships:
Lovers in the making, 2022 300 x 300 x 10 mm, White honeycomb cardboard Relationships: Past lovers, 2022 300 x 300 x 3 mm, Brushed aluminium
Relationships:
Relationships:
13
Mother and son, 2022 300 x 300 x 18 mm, Premium birch plywood
Teacher and student, 2022 290 x 290 x 3 mm, Inkjet printing on card and paper
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 I
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.
15 Sarah, 2022, 594 x 841 mm, Oil Pastels on
sugar
paper
BUFFY KIMM
www.buffykimm.co.uk buffykimm@hotmail.com
Kimm takes inspiration from the obscure and unusual, using both nature and architecture as sources through photography. She likes to experiment with differing media to explore innovative expressions for her work.
She aims to inspire the viewer to look more carefully at their surroundings and to see what is actually there, but is perhaps not obvious. She tries to find what others leave unnoticed and uses her photography as a springboard to create works that reflect the magic that is there to be seen, but is often ignored. Currently she is working in card, paper, found
Exhibition for 2 artists <The Spaces In Between>
BBK Gallery Oldenburg, Germany
Group Exhibition <Lines etc...> One Paved Court Richmond, UK
Group Exhibition <White Noise> The Crypt Gallery London, UK
BA 3D Design Kinston Polytechinic London, UK
metal and wood; creating three-dimensional works that play with light and shadow. She also uses etching as medium and again, takes inspiration from photography. Her work is both experimental and playful.
SBP 3 4 5 is a triptych made from hand-cut Fabriano paper on acrylic. In these works, she wants to highlight the plight of the planet, global warming and climate change, by representing our fractured world in this trio of images. These pieces depict melting ice floes, cracked earth and erosion.
16
2019 2019 2017 1975
17 SBP 345 Triptych, 2018, 620 x 420 mm each, Fabriano paper on acrylic
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.
18
19 Discarded 5, 2019 600 mm diameter, Rusted metal, recycled MDF and recycled rubber tyre Vortex 1, 2019, 600 mm diameter, Recycled MDF
HANNA TEN DOORNKAAT
www.tendoornkaat.co.uk tendoornkaat@me.com
Out
Solo Exhibition <Ezra Maas, Nothing Is More Real Than Nothing> Gallery 46, London, UK
Solo Exhibition <Dissonance + Harmony> &Gallery, Edinburgh, UK
Personal Structures GAA Foundation Venice Biennale, Italy
MA Sculpture Wimbledon College of Arts University of the Arts London, London, UK
the Frame, 2021
frame
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 focal point altered by ‘drawing’ the viewers attention to the edge and off centre.
20
of
840 x 800 x 20 mm Acrylic, ink, canvas, board and recycled stretcher
2022 2021 2019 2002 ‘Out
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.
21
The Ugly Face of Beauty,
2022 300 x 800 x 50 mm Ink, recycled honeycomb krafts paper, stretcher and framed with museum glass
22 Downside up, 2022, 220 x 350 x 30 mm Gesso, ink, recycled cardboard box, and honeycomb cardboard backing
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
Solo Exhibition <Ordinary Nations> Space 55, Seoul, South Korea
Solo Exhibition <Way of Leaving> Space CAN, Seoul, South Korea
MA Fine Art
Chelsea College of Art and Design University of the Arts London London, UK
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
2019 2016 2009 2008
25 Daily Post , 2021 210 x 148 mm each, Pen on paper
‘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
Group Exhibition <4482-2019: The Other Side of the Moon> Bargehouse, London, UK
Solo Exhibition <Plato’s Cave> ADM Gallery, Seoul, South Korea
<Kanaval>, Camden Image Gallery London, UK
BA Fashion Photography London College of Fashion University of the Arts London, London, UK
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.
28
2019 2017 2015 2015 Diffusion, 2022, 1200 x 800 mm, Photography
www.jackleestudio.com jack@jackandethan.com
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
30 Iceland and Jan, 2015, 1500 x 750 mm, Photography Iceland and Jan, 2015, 1500 x 750 mm, Photography
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
32 Solo Exhibition <The Mindscape> Far Beyong Gallery, Seoul, South Korea Invited Artist in Residency KMI Mecklenburg Inspiriert Kühlungsborn, Germany MA Illustration & Animation Kingston University London London, UK BFA Visual Communication Design College of Fine Art, Hongik University Seoul, South Korea 2021 2011 2011 2015 JOY JO www.instagram.com/artistjoyjo artistjoyjo@gmail.com Home, 2022, 1:04 sec, Video based on acrylic painting
‘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.
33
Personal Space, 2021, 30 sec, Video based on acrylic painting The Era Of Wind, 2021, 15 sec, Video based on acrylic painting
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.
34
A Surfer,
2022, 606 x 727
mm, Arcylic on canvas
35
The Surfring, 2022, 606 x 727 mm, Arcylic on canvas
MI-YOUNG CHOI
in
4,
In early adulthood, whilst considering the decision to change her career path and become an artist, Mi-Young Choi initially worked with a predominately abstract approach focused on colour and form. However, in recent years she has incorporated more figurative and gestural aspects into her paintings. Still enthralled by colour, she is drawn to compositions referencing colourfully rich and dynamic natural phenomenon, such as sky and sea, and also the vast expanse of space. The sky holds a particular fascination
Group Exhibition <British Painting 3> Bermondsey Project Space London, UK
Solo Exhibirion <Wider than the Sky> Soohoh Gallery Seoul, South Korea
Group Show, Harmony Gallery Shanghai, China
Fine Art - Studio Practice & Contemporary Critical Studies Goldsmiths University of London London, UK
for her, with an infinite nature lending itself to spiritual and existential themes, as well as literal. Mi-Young sees a link between working a canvas, and contemplating the sky - the seemingly evolving forms and colours of both forever changing, from which ideas can be built and emerge, representing both the subtle and the spectacular. She is also fascinated by how the sky has been approached in the history of art, and has used it a metaphorical backdrop to many of her recent works.
36
BA
2022 2019 2019 2009
www.youngkearton.com youngkearton@hotmail.com
The Space
Between
2022, 850 x 500 mm, Oil on linen
Spirited Away, 2022, 850 x 1250 mm, Oil on linen
Mi-Young’s practice sits in the middle of an exchange between the World and her inner self - which is often an anxious and questioning dialogue. In terms of choice of subject matter, associated meanings, and the creative process itself, she finds herself both resisting and embracing change. What she hopes to achieve with a work can evolve over a long period of time as she works incrementally. Mi-Young’s work is often inspired by current events and history, though ambiguity and loose metaphors are prevalent in much of her
work, with scope for broad interpretation and contradictions being channeled by the titles chosen for an individual canvas or series. For her the titles are an important part of the final work, as they can play a part in setting the stage for the viewer’s interpretations of any narrative inferred. Alongside the question of any “deeper meaning” conveyed though, MiYoung’s work is often an exploration of the phenomenon of colour and the medium of paint itself.
37
38 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
39 If We All Keep Silent-We May All Sink 5, 2022, 1100 x 1500 mm, Oil on linen Bail Out, 2021 410 x 510 mm, Oil on canvas Get Together, 2019 400 x 500 mm, Oil on canvas
SOON YUL KANG
www.soonyulkang.com soonyulkang@gmail.com
Duo Exhibition <CUT, COPY, PASTE> Korean Cultural Centre Washington D.C., USA
Royal Academy of Arts Summer Exhibition London, UK
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.
40
2022 2021 2017
41 WE 1, 2021, 410 x 430 mm, Calligraphy on archival paper
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.
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.
42
43 Going Together, 2020, 297 x 297 mm, Calligraphy on paper From a Distance 2, 2020, 200 x 200 mm, Collage, Korean mulberry paper, ink
