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ARTIST NOTE

Korean

English

2018-01-31

Life and Artistic Vision

I was born the eldest of Lee Jong-Young and Song Lim-Soo’s 9 children in Tongyoung, Kyongsang-nam Province in 1928. My father was engaged in the fisheries business.My family was well off during my childhood and I was often told that I had exceptional talent in handcrafts. Encouraged by these words, I spent much time making traditional kites and small folding screens. I also filled my notebooks with numerous drawings of flowers and plants. People of my village even referred to me as a genius. Tongyoung was the foundation of my life during my child hood and teenage years. I often witnessed my parents dreaming flower dreams when my mother was bearing a child; thus the fantasy of dreams fascinated me as a teenager.

After graduating Tongyoung Commercial High School, I passed the National Test for Teaching Certification and taught at Sanyang elementary School, which was the very school I graduated from. In 1950, the Korean War broke out and I joined the army. Although I was unable to receive formal education in art, I got acquainted with late Seo Seung-Man, who was a famous artist. At that time I had the chance to learn more about art. After completing my service, I went back to teaching in Jangseungpo elementary school in Keoje Island. My skills in art grew along with the passion I had for it and I was granted the position of an Art Researcher, thanks to the referral by the Superintendent of Education in Kyonsang-nam Province. Later on, I received Teaching Certification for Middle and High Schools.

But unfortunately, I was ill from acute hepatitis and pulmonary tuberculosis and had to move to my hometown to teach at the school I previously taught. The Board of Education graciously acknowledged my works and granted me a 6-month leave. I received the Prime Minister’s Award in 1960 in recognition for my years as a teacher. I spent my last year as a teacher inTongyoung High School.

I was always interested in traditional craft of Tongyoung and ran a craft shop for lacquered wares inlaid with mother-of-pearl for 7 years. This business made me a successful businessman. But even as a businessman, I have never abandoned my zeal for art and continuously worked on it. In 1970 I won an award in the National Art Competition.

I decided to move to Seoul to engage in the art world in earnest. Back in the 60’s and 70’s winning an award in the National Art Competition was a prerequisite for becoming an acknowledged artist.

I won a few more awards in the National Art Competition after the first one in 1970, though of course, there were years when my works were not chosen as award-winning pieces. Sometimes I thought of giving up and sometimes I went into a deep depression. The next try 1976, however, brought back my confidence when I was granted a very significant award. In 1978, I received the Minister of Culture and Education's Award in the National Art Competition, but my work was stolen during the exhibition period, an incident that made me even better known.

I was granted the honorable position of Invited Artist in 1980 and Korean artists appraised my works very well. In approaching the concept for the background, I always try to converse with the object I am working on. This is to understand and bring out the heritage, the usage and the history of the specific object. Very well refined white and blue ceramics or antique furniture is used. I started this to reflect the sentiment of the Korean people and in fact, it was the only way for me to experience the 5,000-year old cultural legacy. Various earthenware, woodwork and white ceramics were used in a detailed manner.

Instead of focusing on the external aspects of the object, I was looking to reflect the scar of the Korean people, as I have always believed that art leads contemporary culture. During 1960 to 1978, I was concentrating on realism but after 1980, I developed my own way to portray the shape of nature and intellectual thinking on canvas.

My teacher was nature itself, the lovely sight of my hometown, the mountain that embraces the seashore and the hills not too high, as if to show the years they have endured. With this kind of approach as a backdrop, I used much symbolism to describe nature. It may be said that the coastline of Tongyoung is the foundation of my work. The Exhibition in Seoul Gallery in1990 encouraged me even more for my new style was well received.

In 1992, I met Pizarro the third in Paris, during my trip to Europe. The influence from the encounter has been reflected in my works ever since. In 1995, I held a joint exhibition with Pizarro, thanks to the sponsorship of the Hankook Ilbo. My ardor towards work that’s moreKorean has grown larger since that exhibition.

Since 1995, I have used the contrast of lines and spaces in order to express the pain and agony the Korean people have had to go through. My work became simplified, as I simplified the images of the objects based on expressionism.

My work style has evolved as such. But the single theme of all of my works is the beautiful nature of this country, based on humanitarianism and pragmatism. My works are intended to portray the sentiment of the Korean people and the peace, which we all opt for.