[전시]서양화가 최현숙‥.‘사실과 진실’초대개인전, 8월1~31일, 갤러리3s[최현숙 미술가,최현숙작가]

 


상자 속 엉뚱한 발상, 91.0×116.8㎝ Oil on Canvas, 2021.


현대인의 고독과 상실, 공허함 사이 내면적 진실을 찾아가는 과정을 일상에서 찾아 작품으로 표현하는 최현숙 작가 ‘사실과 진실’초대개인전이 8월1일 오픈하여 오는 31일까지 을지로3가역 인접, ‘커피가좋아 3s 갤러리’ 2층에서 성황리 전시 중이다.

 

(왼쪽)마음이 온통 한 곳에 쏠려, 90.9×72.7㎝ Oil on Canvas, 2021. (오른쪽)객석, 72.9×60.6㎝ Oil on Canvas, 2022.


일상의 순간을 다시 조명해 보면 내가, 또 하루의 순간들이 얼마나 소중하고 의미가 있는지 깨닫게 된다. 관객은 평범하게 스쳐지나가는 듯 일상의 화폭에서 자아를 발견하고 머물게 된다. 물빛에 어리는 빛의 움직임에 나와 강아지의 체온이 공유되는 시간. 때로는 생명과 인형이 다른 듯 같은 의미를 공유할 때가 있다. 그것이 일상이고 삶이다. 큰 아픔을 지으면서 사는 것처럼.


상이한 삶, 116.8×91.0㎝ Oil on Canvas, 2022.


최현숙 작가는 “우주가 된 적이 있다. 그에겐 전부인 나. 나에겐 작은 일부분인 너. 공간과 시간에 갇힌 순간에도 희망을 꿈꾸는 너. 그리고 다를 바 없는 현실 속의 나. 불안은 사실로 해소할 수 있지만 분노는 진실을 이야기해야만 해소할 수 있다.”라고 적었다.


동상이몽, 91.0x116.8㎝ Oil on Canvas, 2021.


한편 이번 최현숙 미술가(Artist CHOI HYUN SOOK) 개인전은 ‘도서출판 샘’의 ‘8월 선정 작가’기획으로 열리고 있다.


최현숙 작가. 사진=작가제공.


  [글=권동철, 8월3일 2023, 인사이트코리아]










댓글

댓글 쓰기

이 블로그의 인기 게시물

[Ruthie Tucker, Executive Director–Curator] RYU YOUNG SIN ‘Forest-Divine’ series…Innovative approach to documenting the temporal beauty of nature

이미지
  (left)Forest-Divine No150, 131 × 131 cm, Mixed media, 2022 ⓒ ADAGP. (right) Gallery LAMER exhibition view 2023. Photo=Kwon Dong-chul. Hans Hofmann mused, “ Creation is dominated by three absolutely different factors: First, nature, which works upon us by its laws; second, the artist, who creates а spiritual contact with nature and his materials; third, the medium of expression  through which the artist translates his inner world. ”   Following this credo, Korean artist Ryu Youngsin's abstracted expressionist style illustrates the power and beauty of nature. Focusing on vivid color and integrated texture, her mixed media paintings evoke the visceral power of nature. Impressed and fascinated by the landscape and its elements, Ms. Youngsin's dazzling compositions pulsate with an emotional bravura and are passionate reflections revealing her personal perceptions of nature.   Forest-Divine No149, 130×130 ㎝ , Mixed media, 2022 ⓒADAGP. Rather than re-creating a landscape o
자세한 내용 보기

[Robert C. Morgan, Art Critic] South Korea Painter Ryu Youngsin‥Black Hole Paintings

이미지
  Forest-Black hole No43, 60.6×60.6 ㎝ Mixed media, 2016. ⓒADAGP Since I wrote a review on the work of Ryu Young Sin a year ago, her paintings have continued to evolve.  By evolving I mean they have become more open and free in their exploration of experimental form. They are not in the same place they once were. From a critical point of view, I find a certain pleasure in what Ryu is doing today, specifically in a series called Forest – Black Hole.   These paintings suggest they are the work of an artist emerging from the cocoon of her past. Even if the style and subject matter of these paintings look the same, they are not. While there are always traces or resemblances that make us believe one painting is the same as another, this is rarely if ever the case (unless, of course, it is made intentional).     Forest-Black hole No26, 53×53 ㎝ , Mixed media, 2015. ⓒADAGP For example, if one carefully studies the work of the mid-twentieth century Italian painter Giorgio Morandi, his pai
자세한 내용 보기

[Gallery Bisunjae]Dansaekhwa Artist CHOI Myoung Young‥A Conversation with History[LEE Jin Myeong, art critic]

이미지
  갤러리 비선재 전시전경 . 포즈를 취한 최명영 화백 . 사진 = 권동철 , 2023.9.21. ▲ Writer=LEE Jin Myeong, art critic CHOI Myoungyoung has dedicated his entire life to conducting formal experiments within the intricate interplay of material (object) and spirit. Notably, he stresses the notion that the genuine visual essence within painting only mes apparent through the gradual accumulation of time. The accumulation of time comprises not only the artist ’ s personal history but also the very essence of his existence.   This perspective accentuates why CHOI Myoungyoung places significance on the process and self-cultivation. His distinctive approach of constructing the canvas through tactile interactions-pressing and rubbing the paint with his hands – serves as a dialogue with the overarching narrative of ‘ painting ’ and ‘ culture. ’ 갤러리 비선재 전시전경. “ The series of two-dimensional artworks can be interpreted as an attempt not only to establish a pictorial presence through repetitive elements but also to
자세한 내용 보기