[Grand Palais Ephémère(그랑 팔레 에페메르):2024]화가 조향숙‥佛 ‘데생 앤 평튀아로’展 출품참여[JO Hyang Sook,SALON DU DESSIN ET DE LA PEINTURE À L'EAU 2024]

 

프랑스 현지 전시장 앞에서 조향숙 작가. 사진제공=조향숙.

조향숙 작가가 2월13~18일(Du 13 au 18 Février, 2024) 동안 프랑스 파리 ‘그랑 팔레 에페메르(Grand Palais Ephémère)’에서 열린 ‘데생 앤 평튀아로(SALON DU DESSIN ET DE LA PEINTURE À L'EAU 2024)’전(展)에 출품, 참여 했다. 

위 조향숙 작품 <잃어버린 시간을 찾아서-행복한 기억들(To find lost time-Happy Memories), 90×60㎝ 장지 석채, 2023>은 프랑스 현지인이 구매했다.  


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

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

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

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  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
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