LandEscape Art Review, Special Edition

Page 136




LandEscape meets

Young Maeng My art practice explores comparative art-philosophical inquiries between French Philosopher Gilles Deleuze’s transcendental aesthetics of sensation and the aesthetics of Tao, as an open one-all. I create works of art to transform everyday life experience into something completely new and original, by challenging pre-existing understanding and well-disposed presuppositions. My recent work explores the virtual aspect of the actual painting though the digital documentation of Bunche painting process, by making experimental video art pieces which I call Documentation Art. My primary medium is the traditional Korean painting called Bunche which refers to a multilayer technique which uses powder colour pigments mixed with water glue on Mulberry paper. Documentation Art challenges conventional understanding about painting as a single identity, as it reveals multiple layers of paintings which are imperceptible if the audience sees only the executed painting. This approach questions the idea of figurative art as representational since painting itself is a virtual multiplicity, not a static single identity, which cannot be interpreted by pre-conceived symbolic signs and conceptual analogies. Through this practice, painting is becoming an object of essential encounter and experience with pre-logical sensation, rather than an object of interpretation. Link to Sandys: (password: Youngproject2017)

An interview by Katherine Williams, curator and Ralph Landau, curator

Hello Young and welcome to LandEscape. Before starting to elaborate about your artistic production and we would like to invite our readers to visit in order to get a wide idea about your mulifaceted artistic production, and we would start this interview with a couple of questions about your multifaceted background. You have a solid formal training: after having earned your BFA and your MFA in Korean painting from the Kyung Hee University, South Korea, you launched your career and you moved to San Francisco to study

contemporary art at the San Francisco Art Institute and you later nurtured your education with a PhD degree in Contemporary Arts at Lancaster University: how did those formative years influence your evolution as an artist and help you to develop your attitude to experiment? Moreover, how does your cultural substratum due to your Korean roots direct the trajectory of your current artistic research? It is quite emotional moment to look back at my artist career, driven by my multicultural experiences and lifelong philosophical inquiries. I have been always curious about the connections between the things around me in this world; how they have appeared, evolved and reconnected. When I first learnt traditional Korean Ink paintings at the age of 12, my Korean ink painting