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Young Korean Painters


IM CHANG WOOK

The advent of the era of reproduction, the plethora of images, and the appropriation of the

memoire” (sites of memory) that refers to the surplus of memories we cannot help but keep.

original have long been the primary concepts of contemporary art. Diverse ways by which

According to Nora, the sites of memory include both the concrete and the abstract. In an

an artist can adopt and reconstruct an image have been already discovered. However,

attempt to rediscover the past using present memory, Im’s reconstructed photographic

artists such as

Im Chang Wook releases newly created images on to the canvas

through a process involving his unique perception. He presents the multi-faceted works that can be interpreted in ambivalent ways. Based on news photographs, his works can be reread through their relationship with the world surrounding the artist. Although Im’s works are based on realistic issues, they do not explicitly carry any assertions or suggestions. He portrays intense and provocative images such as those of the ruined houses, group assault, and a confrontation between soldiers and the Pope. These, however, are not used as a means to project his voice but as a mere motivation to trigger the viewer’s thoughts.

images may open up another perspective on the past. Societal events that can be inferred from the titles of Im’s works are composed of the seemingly inharmonious background and subject matter. For instance, A Feast of Flowers in Full Bloom in Afghanistan presents colossal flowers in highly ornate colors in front of an achromatic architectural structure. Such dramatic juxtaposition, in terms of space and content, is often adopted in his work. In his recent Way of Maternal Love, a mother and a child walk in a forward direction, toward a pavilion in the middle of the sea. What is unique is that the path they take is not a road on land but on the sea. As if making a pathway

Human figures, objects, and landscape in Im’s paintings are not arranged according to

for memories, water in this painting bridges the past and the present and tradition and

the conventions of paintings, but rather the order the artist recognized when he first saw

modernity. The artist also addresses the themes of right and wrong and sin and innocence.

the original news photographs. His work process includes contemplating on the forms of

In his large-scale work I Do Not Believe in Redemption painted in 2011, the scene of the two

the news images he discovers on the Internet and recomposing them according to their

figures chasing a lamb is dynamically portrayed. However, it is difficult to judge if they are

essential meanings. He chooses the photographs with a critical character, but leaves a room

trying to capture the lamb to sacrifice it for their atonement or to deny atonement.

for diverse interpretations of the political or cultural issues through his ambiguous gray images. Since creating his early pieces, Im has been dropping pigments directly onto the canvas. His primary media are automotive paints on aluminum panels, but he also has been using acrylic, oil, and latex. His works are blurred as if those are seen through a window on a rainy day, but we are able to identify the general background situation of the images. These scenes are more of fragmented images of life rather than narratives, and thus remind us of the memories that have been imprinted on our inner world.

Without any narrative, his recent works also address the themes pertaining to the right and wrong. The two pieces titled Role Playing illustrate several policemen inflicting violence on a man. While these pictures do not explicitly indicate specific background information such as location or societal situation, the only evident fact is that the violence is taking place. Im’s paintings make us realize that our freedom of thought and conscience might be violated even in a modern society. Also, he allows us to contemplate on whether the suppression under law can ever, or in which cases, be justifiable. Im’s paintings that are based on

His images that imply historical events and scars are similar to the selective information

the actual events help us to view the world through flexible and various approaches by

stored to remember. Human brains effectively combine or divide images to process the

intentionally recomposing and obscuring images. Although his works are vague scenes

countless visual information encountered in life. If one considers that the memories stored

that allow a flexible thinking and diverse interpretations, the images themselves are highly

in such way trigger further thoughts, it seems natural to say that Im’s paintings provide us

intense. Just as more varied and unbelievable contents can be found in reality than fiction,

with the visual and historical food for thought. A French historian Pierre Nora showed that

Im’s works will continue to bring about diverse and complicated questions and ideas to

a specific object can become a metaphor for memory, through the concept of “lieux de

their viewers.


Way of Maternal Love Acrylic on canvas, 119.5 x 102 cm, 2014


Just Love Acrylic on canvas 69.5 x 84.5 cm, 2013


First encounter by the seahore Acrylic on canvas 117 x 88 cm cm, 2013

Gray Dream Acrylic on canvas 125.5 x 110 cm, 2013


I’m Home Acrylic on canvas 87 x 69.5 cm, 2014


Green Land Acrylic on canvas 84 x 100 cm, 2013

Breaking Away from the Journey Acrylic on canvas 64.5 x 93.5 cm, 2013


LEE JEONG WOONG

Lee Jeong Woong

was born in Seoul, South Korea in 1982. He trained at the

Sungkyungkwan University in Seoul. After his graduation in 2008, he participated in several group exhibitions and had two solo shows in major art galleries in Seoul. He is an ardent student of the art of Sir Lawrence Alma-Tadema yet his works reflect his own aestheticism which tests the viewer’s mind with complex threads of symbolism and visual experiment. For modern British viewers, it can be puzzling to see a Korean painter re-creating the style of the eminent Victorian painter with a high degree of technical capacity. While late Victorian art has hardly been introduced into Korea, Lee’s close study of artists in the period, such as Alma-Tadema and Waterhouse enables him to create a peculiar vision in 21st century Korea. Just as Victorian aestheticism contrives to attack the senses of the viewer directly with its elevated naturalism, Lee’s pictures speak out to the viewer by themselves through exploiting the power of mimesis. At the same time, it is easily noticeable that he does not intend to forge convincing illusions. His figures are collaged and not quite integrated within the same space, and they cannot represent any explicit narrative or theme despite his frequent playing with the titles. Rather his paintings aspire to an abstract quality as he carefully experiments on the formal qualities, such as tone, colour and space with his brush. At the same time, he uses his technique to crack his own problems and those of his society. The elegant marble set in his pictures is occupied by contemporary Koreans including himself. His attempt to recapitulate the consciousness and experience of himself and his nation through the odd mixture between the symbol of western ideals (marble) and Korean images might be seen as reversed exoticism. But that is far from the case, as he trained in Western modern art at a university which once was an ancient Confucian academy; the mentality of modern Koreans is reflected in this visual conundrum. It is impossible to decipher the complexity of the modern experience of the Koreans with one simple logical framework. For instance, the traditional Japanese costume in his pictures is an object of beauty while it can function as an object of aversion for the Korean viewers who remember the Japanese occupation (1910-1945). Concurrently, his pictures are not a The Pipe Oil on canvas 112 x 162 cm, 2014

mere insipid construction of a collective memory. The individual concerns of the young artist to life, such as beauty, affection and death, are always circulating on Lee’s canvas as the motivating force of his art.


The Idol Oil on canvas 130 x 193 cm, 2014


Red Fragment out of the Window Oil on canvas, 162.2 x 112 cm, 2014


KIM CHAN SONG

1988 Born in Daejeon 2011 B.F.A. College of Fine Arts, Kookmin University, Seoul Solo Exhibitions 2014 Floating Forest, Alternative Space Noon, Suwon 2012 Sticky Room, The K Gallery, Seoul 2010 Cocoon House, Kookmin Art Gallery, Seoul Group Exhibitions 2014 Scribbles 4, Unofficial Preview Gallery, Seoul

8th residency artists show, Cheongju Art Studio, Cheongju

2012 ASYAAF 2012, Culture Station Seoul 284, Seoul 2011 ASYAAF 2011, Hongik University, Seoul

Tomorrow’s Artist, Kyumjae-Jeongseon Memorial Museum, Seoul

2010 ASYAAF 2010, Sungsin Woman’s University, Seoul Award 2011 Tomorrow’s Artist award (Kyumjae-Jeongseon Memorial Museum, Seoul) Residency 2014 Cheongju Art Studio residency

Island of Loss Oil on canvas 116.8 x 80.3 cm, 2014


Distrust Oil on canvas, 80.3 x 116.8 cm, 2013


Fallen Leaves, a Broken Piece Oil on canvas, 162.2 x 112.1 cm, 2013

Canvas in Gray Oil on canvas, 162.2 x 112.1 cm, 2014


Erased Island Oil on canvas, 80.3 x 116.8 cm, 2014


IM CHANG WOOK LEE JEONG WOONG KIM CHAN SONG

49 Albemarle Street London, W1S 4JR www.shineartists.com info@shineartists.com mobile +44 7957346729 tel +44 20 7499 1616

Young Korean Painters | London 2014 04 Sep - 27 Sep 2014  

Exhibiting Artists: Lee Jeongwoong Chansong Kim Im Changwook