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

 

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 infuse the material with a spiritual essence. The utilization of white material seeks to symbolize a underlying realm brimming with the movement of ideas, while the use of black material intends to evoke a tangible space that directly engages the senses on a physical level.7)” 

CHOI Myoungyoung asserts that while the visual delight offered by painting holds significance, it’s equally crucial to derive satisfaction from introspection through intellect. When the threads of visual pleasure (weft) and intellectual gratification (warp) harmoniously intertwine, the true essence of painting can radiate its fullest meaning.

 

Conditional Planes 17-41, Acrylic on canvas 130.3×162.2㎝, 2017.


The visual pleasure arises from engaging in a dialogue with art history through formal analysis, while intellectual gratification emerges from an artist’s contemplation of the insights gained through interacting with the world. Progressing from repetitive endeavors to a state of invincible mastery, the significance of establishing a mutual rapport with materials(such as paints, canvas, and the external environment) is embodied through mental exploration. 

In this context, the black series and white series show cased in this exhibition serve to epitomize CHOI Myoungyoung’s previous disposition, one forged from the fervor of passion and the resolute determination of will. However, their greater intention lies in revealing the artist’s present capability to reach for a freedom that transcends those prior boundaries.

 

Conditional Planes 7635, Hanji, Oriental Ink, Needle 60×90㎝, 1976.


It’s crucial to observe with attention that his recent creations are not products forced by obligation or preconception; rather, they are artworks that come into being organically, like the flow of water, and shaped by a freedom that radiates its own luminance. The interplay of light’s reflection, the resonance of music, the flow of air, and the distant sounds beyond the window-each forms a crucial element for study. 

All these emotions engage in a dialogue with the material, transforming the interaction into an essential process that persists until the ultimate realization of spiritual transcendence on the canvas, achieved through the gradual accumulation of time.


[Writer=LEE Jin Myeong Curator, art critic, doctor of philosophy] 

[Rreference] 7) CHOI, Myoungyoung, Artist’s Statement, 2023.

[Source]Gallery Bisunjae, ‘WHITE & BLACK PLANE’ Exhibition, SEP-OCT 2023.

 

◇Choi Myoung Young(South Korea, 1941~)

1941 Born in Haeju, Hwanghae Province, Korea

1960 Graduated from National Incheon Sabeomhaggyo

1964 Graduated from [[Hongik University]], College of Fine Arts, Department of Painting

1975~2007 Professor of Painting, Hongik University College of Fine Arts

1976 8th Cagnes-Sur-Mer(France)

1978 Korean Art Grand Prize Exhibition, the grand prize

1983 Vice of directorship, International Affairs of the Korean Art Association

1990~1991 Professor of Exchange at the University of Wolverhampton, England

1995~the present An advisor to the Korean Fine Art Association

2007 Civil Merit Medal Award

2007~the present honorary professor at Hongik University College of Fine Arts.


#Second Image Caption

(위 왼쪽부터)Conditional Planes 20-405, Acrylic on canvas 194×162㎝, 2020. Conditional Planes 18-08, Acrylic on canvas 162×193.5㎝, 2018. (오른쪽)Conditional Planes 21-22, Acrylic on canvas 130×162㎝, 2004. (중앙)Details. 사진제공=비선재. (아래)최명영 화백 및 배경작품=Conditional Planes 1622, Oriental Ink on Hanji 164×132㎝ 2016. 전시전경사진=권동철.

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 ...
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 ...
자세한 내용 보기

[Robert C. Morgan, Art Critic] South Korea Painter Ryu Youngsin‥Visual Rhythms from a Forest of Birch

이미지
  (left) Into the forest-19, 91.0 × 116.5 ㎝ Oil on canvas, 2012. (right) Into the forest-When it snows, 103.3 × 130.3 ㎝ Oil on canvas, 2010. Youngsin Ryu is a highly accomplished contemporary painter who for the past five years has focused her attention on representing the formal elegance of birch trees. Like many Korean painters, her point of view is to envision forms in nature that contain the Qi or quiet energy. She discovered the natural movements ofthe trunks, branches, and leaves of these vibrant trees while observing the effect of breezes blowing through the forest glade.   Inspired by what she saw, Youngsin Ryu chose to transform this rhythmic sensation into an epic of wonderment through the art of painting.   It is precisely this sense of wonder that intrigued the artist, thus giving   the artist a necessary focus by which to concentrate and transform her perceptions of nature through her lingering experience in the birch forest.   Why birch t...
자세한 내용 보기