BHADAH BhaDah, 2012
Digital Pigment Print , Anmok Beach , Gangneung City S.Korea edition of 300 35.0 cm x 35.0 cm $ 190 edition of 5 ( Original Size ) 65.1 cm x 90.9 cm $ 750
BHADAH #A-27 2012 Photograph on Fine Art Paper, 350mm x 350mm Limited Edition of 300
BhaDah #J-27 2012 Photograph on Fine Art Paper, 350mm x 350mm Limited Edition of 300
BahDah #AU-27-07 2012 Photograph on Fine Art Paper, 350mm x 350mm Limited Edition of 300
BahDah #S-05 2012 Photograph on Fine Art Paper, 350mm x 350mm Limited Edition of 300
BahDah #S-27 2012 Photograph on Fine Art Paper, 350mm x 350mm Limited Edition of 300
BhaDah #A-27 2012 Photograph on Fine Art Paper, 350mm x 350mm Limited Edition of 300
BahDah #M-01-05 2012 Photograph on Fine Art Paper, 350mm x 350mm Limited Edition of 300
BahDah #M-01 2012 Photograph on Fine Art Paper, 350mm x 350mm Limited Edition of 300
BahDah #J-26 2012 Photograph on Fine Art Paper, 350mm x 350mm Limited Edition of 300
BhaDah #AU-31 2012 Photograph on Fine Art Paper, 350mm x 350mm Limited Edition of 300
BahDah #N-04 2012 Photograph on Fine Art Paper, 350mm x 350mm Limited Edition of 300
BahDah #D-01 2012 Photograph on Fine Art Paper, 350mm x 350mm Limited Edition of 300
BHADAH by NK HONG
NK HONGâ€™S Art Work ( Photography ) 2017
Digital Forest ; Re
Digital Forest 3.0
Beyond the Boundary
Digital Forest II
Mong U Doh
HONG NaKyum, Coming Through Light Choi Yu-jin (Director of ARTWA) HONG Nakyum (NK HONG) is an artist whose practice is based in media and interactive art. In addition to this she also takes on the role of a director, editing stories and sounds. Dramatizing video and sound culled from everyday landscapes or from nature, the artist invites the audience to enter heightened spaces. As the artist draws happiness from other people and gains more energy from them, she tries to share the time and space she experiences with the audience. Based in Gangwon-do Province, recording video and sound HONG has worked as a screenwriter and musician. In this capacity she naturally encountered forms of media art as she collaborated with artists from various genres for concerts that employed media art. As she has on many occasion directed videos for concerts for other artists she, while focusing on shooting videos, must have tried to communicate with other artists in her own way. Furthermore, her 6 years of engagement in creative media education for the underprivileged in Gangwon-do region provided her a significant motivation for making art. Beginning in this way, her creative practice as explored in various series of works during the past ten years established Hong as a media artist.
1. HONG Nakyum as Media Artist The term media art is very broad and ambiguous. The term is still in formation; the discipline is also a part of the global cultural landscape that has emerged since Postmodernism, which emphasizes diversity. Media art reminds us of various forms of media like the news, magazines, photography and posters that reflect popular taste. Also, products of technology such as computers, film, music videos, television and publication come to mind. Thus, many people tend to focus on art that reflects the latest forms of media and cutting-edge technologies. However, HONG Nakyum does not employ particularly special or complicated media technologies. All she uses is a DSLR camera, a portable voice recorder, and a computer for editing. The artist believes that the advancement of humans is not different from the development of technology. Based on her perspective that nature, humans and technology are equal she believes that the ‘development’ of their relationship can ‘evolve’ toward solving problems, rather than resulting in destruction.
As photography - a technology for realistic representation - proved itself a medium that could be distinct and independent in its relation to art and mass media, film revolutionized static paintings by capturing moving subjects. (If painting is a vehicle of meaning, film is a vehicle of narrative that connects momentary scenes.) At such an intermediate space between photography and film —the root of media art— Hong Nakyum’s work exists. Her art is easily relatable to the public and is created by actively absorbing everyday subjects that surround us. The artist is very much aware of the attributes of video that contains something more than just light and she invokes the subconscious of the audience. Apart from the convenience of production and screening of video art, she has a great sense of intuitively perceiving strong messages that ooze from the video itself, taking this as forms of new artistic experiences. Her well-known piece The Song of the Flowers Longing for the Sea is the first piece that employs fabric as an element of the installation. Projecting videos of the sea onto fabric, the work with its overwhelming sound is a daring expression of the sea that looks like moving clouds. Presented at the Gangneung Museum of Art and Seoul Art Space GEUMCHEON, the lively and breathing waves, its overwhelming light and colors of nature, The Song of the Flowers Longing for the Sea leaves deep and long-lasting impressions. Point Line Plane Time - ONE 1, a work that allows various interpretations on the power of light and time, was showcased in May 2016 at the Chuncheon Art Museum. Projected in a corner of the museum, her two-channel videos do not look like what one usually expects. Each of the two screens, juxtaposed side by side, plays forwards or backwards the changes of time shot in the same place. At one moment in the middle of the play, the two videos encounter and cross each other. Through the videos the audience simultaneously encounters a time of the past, the present and the future. Furthermore, the work askes the audience: “where does your true self exist when you pass through an unpredictable time?” In the midst of moving clouds the brilliant light and the sound of waves quietly prod us to keep thinking about our lives. The harmony that eases our moment of seeing the mysterious passing time and cyclical composition of nature is the subject that is dramatically manifested from the artist.
2. HONG Nakyum as Interactive Artist Amongst the various forms of media art, interactive art mainly deals with its communicative aspects. Like computer games, interactive art has been established as a form of art that induces reciprocal expression and communication. Conventional painting and sculpture are static forms of art that prioritizes sentimental communication. Media art, however, employs mass media, thus engaging in a form of more direct communication. Furthermore, it is developed by embracing aspects of everyday communication. Because media art adopts mass media—a primary means of communication—its ramifications are larger than traditional forms of fine art. The most significant difference between media art and traditional art lies in the mode of interaction between the artist and the audience. In the space where the artwork is installed—where work, the audience, and the artist coexist— the artist senses that an equal relationship is created where everything equally shines - at least in the moment. Thus, she places much importance on the absolute value of the time of the audience who exists between the space and the work. Through her art Hong Nakyum hopes to provide a time ‘to look back on oneself,’ providing ‘the window of time,’ ‘window of thinking,’ and ‘window of a mirror.’ Continually trying to create relationships through her art, the audience can have a time to reflect upon and question their existence. The exhibition The Sound of Bomne in October 2016, most successfully demonstrates such an aspect of experience. Through outdoor exhibitions held at the lawn stage of KT & G Sangsangmadang Chuncheon Arts Center and the rooftop of Seoul Innovation Park, the artist carries out projects that expand the ‘possibility of participatory media exhibition’ as public art. Additionally, these exhibitions which were supported by Gangwon-do, Arts Council Korea, and Gangwon Art&Culture Foundation, serves as a reward for the artist’s years of solitary practice. Interviewing citizens about their memory of Springtime and using their voices in the work, the work draws symbolic elements of the Spring season. The artist recuperates the memories of Spring and effectively expresses the state of our current lives. Through participatory performances of hanging fabrics, the audience freely participates in the installation (beyond the limits of typical screens and walls for a screening). Through this physical element of their staging the scene flutters with fabric in the wind.
3. Collecting Nature Why is the artist attracted to intangible things such as sky, light and wind? Why does she choose the difficult decision to lie down on the ground to try to capture the tiny nameless flowers? The artist seems to be naturally fascinated by the harmony of a mass of flowers and this ever-changing nature. We can presume the artist is reflecting on herself by watching a bundle of plants, flowers, bugs and birds that fearlessly endure and live an intense life before an enormous Nature. Perhaps, she wants to share with the audience the longhours of being together in communion with them in tranquil silence. The language attained from this process and circumstance are projected onto her screens. Some audiences may feel that the descriptive words that appear in the video bother them. However, they seem to be, first and foremost, important clues for the artist who wants to communicate with the audience and share her feelings with them. Long hours spent shooting in order to capture nature and the video’s composition that unfolds before the audience’s eyes end up setting the relationship of the scenes. This is consistent with the instances that occur in the video that are shot from very low or static angles, all she thoroughly considers from the perspective of the audience. Among these, the artist believes that ‘empty space’ is the very part where the audience’s imagination and questions come in. Instead of dividing the artist’s view and that of others, the artist-as-subject imagines the process of engaging others’ gaze.
4. Penetrating Light and Sound For the artist, ‘color is light.’ The day after rain and snow is the perfect time to most clearly see what the artist calls ‘light.’ Additionally, during sunset and sunrise she captures ‘the coloring of time,’ which even dyes the inner flesh of grass. The artist’s favorite shooting techniques, the Zoom In & Out, particularly creates this view of penetrating light. Like our current state, the process in which parts become the whole and the whole becomes parts can be more clearly expressed through light. For the artist the symmetry, in which the subject and the object switch and substitute each other, plays an important role. Additionally, deploying the effect of backlighting—which is not generally preferred by others— in shooting, she captures more a dramatic natural light while contrasting the strong light with dark shadows. In the artist’s view that penetrates the light of nature, beauty and tragedy coexist.
Enjoying the making of sound and editing, the artist expresses the time of capturing sound as ‘the gravity-free state of reasoning.’ She says one can reach the time of contemplation when one makes no sound and stays still. She believes that such experience can impart a slightly deeper sincerity to the audience. If so, is there something called naturalness in sound? Sound is life and it comes with the wind. In a vacuum state, what kind of sound can humans perceive? I am not sure if it is in an extreme zero gravity state where we can only hear one’s own heart beat and movements of internal organs. The artist’s video, however, certainly has a banal yet very special sound.
2017 Hong Nakyum So far, I have observed the characteristics of Hong’s mode of expression. Beginning with her practice with a documentary video in which the artist annually visited the town of Myeongju-dong to record its development since 2011, the artist completed Love sonata for broken heart lovers in 2014. During the same period she had screenings of her four works, including Landscape of Meditation at Gallery Jungdabang Project at Mullae-dong Arts Town; Seoul Art Space GEUMCHEON; the Gangneung Museum of Art. As Hong has produced promotional videos for important organizations before being known as a video artist, she could find places to showcase her work and opportunities for promotion much earlier than other artists. Afterwards, she prepared for big screenings and produced a series of ‘Digital Forests,’ thus establishing herself as ‘media artist Hong Nakyum.’ Noteworthy are her attempts in dramatizing video installation with fabric. The energy of the artist, who has ceaselessly presented around ten video works in Seoul, Gangneung, and Chuncheon during the past three years, reflects her enthusiasm for improving herself. Her works are an effective medium of art that stimulates the sensibility of the public. As she keeps moving forward, she does not have enough time to organize her own portfolio in a way that can encapsulate her practice as a video artist; also, she does not ask critics to write essays on her practice or actively promote her work. Nevertheless, she is able to recompose Digital Forest, participate in public art projects and prepare mid to long term projects that deal with various subjects such as ‘one’, ‘white noise’, and ‘coffee’. She attempts to combine her subjectivity and objectivity in order to live a life as an artist.
I wish that the artist not feel exhausted so that her energy can reach the audience, by harmonizing her dramatic spaces and circumstances. Media art is still an emerging form of art. As the history of art in the 20th is generally related to the emergence of media art, by reflecting artistsâ€™ changing perceptions towards new media and through artistic interpretations on technology as a medium of art, media art may retain its role while it faces challenges from other emerging media. This is because the relationship between digital media (in other words, the digital revolution) and art still has a lot to discover and develop for the future. I am looking forward to seeing her language of media, as it is newly inscribed and shared as an artistic language that follows her future directions. â–
■ SOLO EXHIBITIONS 2017 Digital Forest ; Re - Video Installation (Space ARTWA , Seoul KR ) 2017 White Noise - Video Installation (Gallery Artsoup , Chuncheon KR ) 2016 The Sound of Bomne : Bomeumm - Video Installation (SEOUL INNOVATION PARK , KT&G Sangsangmadang Chuncheon , KR) 2015 Digital Forest 3.0 - Video Installation (Gallery Artsoup , Chuncheon , KR) 2014 Hye Yeon Hwa Gok : The Song of the flowers longing for the sea - Photograph & Video Installtion ( Gangneung Museum of Art , KR / Seoul Art Space Geumcheon Seoul , KR / Gallery Jungdabang Project Seoul , KR )
■ SELECTED GROUP EXHIBITIONS 2016 Hong Na-Kyum’s Art Print Special Exhibition `Re: membrance-Recollection – Photograph (Gangneung Art Village , KR ) 2016 The 1st Space Artsoup invitation artist exhibition 'Look at the forest' - Video Installation (Chuncheon Museum of Art , KR ) 2013-2014 1st & 2nd Photo Group 'Getto' Exhibition - Photograph & Video Installation ( Gangneung Museum of Art , KR )
■ CURATORIAL PROJECT 2015 14th DongGang International Photo Festival Gangwon Province Photographers Exhibition – Photograph ( DongGang Museum of Photography Gallery 5, Yeongwol Gangwon-do KR ) 2014 Special Exhibition "PRESENT; Now. Gift "exhibition invitation artist - Photograph ( Gangneung Museum of Art , KR ) 2013 -2014 1st & 2nd Outdoor video planning exhibition Invited Artist of 'Garden of the Museum' -Video Installtion (Gangneung Museum of Art , KR) 2014 Media Art Exhibition 'Emotionalism of Everyday Life' Invited Artist -Photograph & Video Installtion (Seoul Art Space Geumcheon Seoul , KR)
■ STAGE VIDEO 2015 2014 2014 2014 2013 2013
Lee Tae Kyung and Han Ye Jin's Duo Concert With a visual stage - Video Installtion ( Daejeon Arts Center , KR ) Ensemble La Mer et L’lle 4th Regular Concert ( IBK Chamber Hall of Seoul Arts Center , KR ) -Video Installtion The Trout ( Gallery Jungdabang Project Mullae Art Village, Seoul, Korea) -Video Installtion Spring gesture of butterflies ( C-Cloud in Hongdae, Seoul, KR ) -Video Installtion People who hit the exorcism ‘HYE DANG HWA’ feat. HYE YEON HWA GOK -Video Installtion ( Gangneung Art Village , KR ) Collaboration Art Concert 『4seasons 5senses』 which artists of Korea, Japan and Europe performs –Video Installtion ( Pyeong Chang , Gangnueng , KR ) 2012 Kwon Soonkwan 1st Solo Concert ‘A Door’ ( MapoArtCenter Arthall MAC ) - Photograph
■ FILM 2014 The Sound of Roots : Healing Hearing Gangneung (“GANGNEUNG CITY” Medical Travel Promotional Video Making ) - Director Nakyum Hong
Born 1971 in Donghae , Lives and works in Gangwondo, S. Korea
■ EDUCATION Gangwon National University, Master’s Courses in Visual Culture , KR Gangwon National University, Bachelor of Fine Arts in Crafts , KR
■ Artist Selection 2016, 2017 2015
Selected as a creative arts support department of Kangwon Culture Foundation 14th DongGang International Photo Festival Gangwon Province Photographers Exhibition – Photograph ( DongGang Museum of Photography Gallery 5, Yeongwol Gangwon-do KR )
■ RESIDENCIES 2015 ~2017 Creative Space ‘Artsoup’ 13, Hyoseok-ro 9beon-gil, Chuncheon-si, Gangwon-do, Republic of Korea
■ Atelier [Gangneung Atelier] 140-2, Jukheon-gil, Gangneung-si, Gangwon-do, Republic of Korea
■ CONTACT email _ firstname.lastname@example.org facebook_NakyumHong youtube_Nakyum Hong vimeo_NaKyum HONG Instagram _ visualartist_nkhong
Editioned Prints and Photographs [ BhaDah ] by Visual Artist NK HONG ( S.Korea )