| Building emptiness made with line and good-Hong Kyung Han | |
| Building emptiness made with line and good - Essay on the world of the art for the artist, Oh Kwan Jin Written by Hong Kyung Han (Art Critic & Publisher, Weekly Public Art) 1. The sense of familiarity with the material and high cognitive faculty decrease the unfamiliarity and dilute the visual discomfort when it comes to his artworks. Stuffing is emphasized after undergoing factual reproduction, but shape pursues after seasoned harmony anew. Likewise, the method of using metaphor when it comes to emptiness is an element that testifies that an artwork is indeed Oh Kwan Jin’s work. In addition, the main of the description that requires patience and attention to detail, blank that is distributed wide, accompanying objects such as branches and a petal of the plants including Ume flower that is the evidence that can serve as reference when it comes to the reality along with the aftertaste of the lyric are appropriate for the code that endows exclusivity to his arts. In particular, thinking’s tendency, and graceful shapes devoid of superfluity that precedes more so than the elegant and ornamental babu, are what make his artworks special along with the tendency that makes the canvas into affluent silence. However, calm aftertaste and warm, comforting sense of beauty that replace after the running account is pushed away, are indeed the beauty of Oh Kwan Jin’s artworks that can be felt when deviated from visibility and perception. In fact, the images that are not crude in his paintings and that were arrived safely as the independent main while assimilating with resistance for the mindset of the audience while containing even the space, colors with sharp contrasts between the objects, and the space where the aesthetics of lyricism are included are the languages that explain the artistic world of Oh Kwan Jin accurately. However, the elements that distinguish his artworks are not the sense of familiarity when it comes to the target, wave-like stroke of the brush or harmonious composition. The author cites sound as the element that different the artist’s works. In actuality, low profile sound exists in his artworks that emerge by penetrating the vigor of brush that is used freely and the precision that notices even the fragile crack. The earthquake center of the sound wave that is heard when one pays attention after cutting out all of miscellaneous sounds is placed in the exterior of the visual range that is not the ceramic of the refined format and color. It is certain that the material becomes the medium, and it is also certain that it is a form of catalyst that induces some kind of ‘resonance phenomenon’ by the beginning of sound is in fact marked by the artist and it lies in the artistic behavior that emerges when painting or crumbling down takes place. This is entirely based on the main character, that is the good hearted person pertaining to the patterned ceramics. Regrettably, however, this cannot complete the clear sound. Painting must be accompanied by the essential conditions or especially formed conditions. Thus, it is possible to make its own sound, trusting others' words when the target objects, the aftertaste produced by the black that differentiates the personality characteristics, recognition, lingering feeling that differentiates the way, stuffing, the long held topic of interest, and formative concept that supports emptying are integrated. Real sound can be made only when the integration with the audience based on the harmonious composition of the objects that are objectified, and when the sound that is produced when two objects bang against each other pertaining to the human beings’ personality are derived on top of this. We often refer to it as ‘response’ and the value of the Oh Kwan Jin’s artworks starts from here since they disclose this. 2. Ranging from the rugged bowl used freely that looks incomplete, to the grayish-blue-powdered celadon that is attractive for its trendiness that is added on with class, and the moon container that embraces all the affluence, surplus and calmness of the world, the topics that Oh Kwan Jin selected to this day are those that include the “sounding” when it comes to their own unique characteristics. The process of resonance that entails stuffing by emptying and emptying by stuffing shows in the experimental artworks of today, that are modified in a modern-like style as well as in the artworks that used to recite lyrics using the traditional colored painting or brush and Chinese ink of the past. However, there is a layer that is clearly different from the past amidst the sounding of the recent. First of all, contemplation that examines the depth of life, is strengthened even more, and the fact that it projects the universal sense of aesthetics and the Korean style sentiment can be considered witnessing. Meanwhile, some times there is the historical level context of the name, tradition while there is the awakening to the artistic attitude (abiding by the qualities of an artisan) and artistic value at different juncture which are required of the art of the same era. Moreover, above mentioned response is included in the case of the recent works. This response which is not rugged and tough, and that is combined with the simple and plain themes so that it does not stand out creates the shallows of impression since it is vibrated with the human beings’ personality pertaining to painting as the background, and it makes a strong impression on the sentiment of others since it serves as the detonator of emotions. Here, Oh Kwan Jin differentiates his power of painting. In the current juncture, Oh Kwan Jin’s artworks dominate one conceptual main stream called the review of the permanent Homeostasis, diverse techniques that support it, and painting like various streams. Defining that being preceding is lyrical and deviation of the habitual genre. As is perceived, his paintings are painting-like, contre-reliefs, extremely real and surreal. They are also creation although they are reproductions, and they are ideational although they may appear like actual scenery. On a first glance, ability to recognize is high, and thus it is true that the concrete is powerful. However, it is not difficult to analogize that it is not limited to disclosing accompanied by the excellence of the materials or techniques or to describe what is visible to the eyes given that the sceneries of the human beings that are taken in as images are absorbed within the descriptive context. Accordingly, we can tell that the attributes that traverse Oh Kwan Jin’s artworks are not limited to ‘external playing of variations’ or ‘conspicuous expression,’ which acts as the actual reason that supports the author’s judgment which claims that it is difficult to criticize with universal tendency and fragmented, hasty observation. 3. The author discovered that the languages of expressions included in Oh Kwan Jin’s artworks can be expressed shortly as two lines when they are captured as concepts. Among them, the first line to be mentioned is the leaning line. In more detail, this line is based on the experimentalism as it is possible to deduce from Oh Kwan Jin’s working tendency. It is true that he attempted diverse changes while dismantling the rules of genres, as if fixing something for a long time. It is not like he does not know easier, faster and more convenient path when it comes to the painting level expression method (how can he not know in this age of media and information), but because he believes that some of the values of art stem from manual working. Thus, he devotes himself to stuff by dividing up the canvas using inlaid work technique, searching for the identity of the materials, as well as ‘what is not visible, but that is visible’ and ‘what cannot be heard, but what is heard’ that are at the inside. And the results undergo the process in which they are re-born as the response mentioned previously. These superficial characteristics and the influence of the disposition and the substitution reaction of the response that result due to the influence of the above mentioned verify his paintings’ existence as ‘art’ and can be said to play out the role of increasing the sense of aesthetics. However, the author highlights the side dot of the good when it comes to the spirit and the meaning that is included in it, instead of the surface that merely realizes the feel and reproduces the form. To this, another line that is visible to the eyes of the author is the refined good that includes the image of the outside and the message of the inside. As it is possible to recognize in the representative works such as <Spring> series, and series such as <Wind Blows>, <Emptying the Fragrance> including <Stuffing and Emptying>, the artist leverage the ceramics, the main materials, to embrace the wisdom and sentiment of our ancestors who went for honest, level headed, practical and idleness to his artworks under the beautiful shape. He even moves the ceramic specific smooth organic feel, humbleness that comes from rugged hands, elegant patterns that are realized under the traditional context, and the sense of affinity that one cannot see easily in the ways of the world onto the canvas. Here, he embraces even the essence of the human beings’ personality that can be considered the genuine line, acting on the concepts of ‘tolerance’ and ‘embracement’, and tries to showcase his philosophical position on the direction of life. For this reason, Oh Kwan Jin’s artworks are namely visual and very sensible, but also lyrical. 4. The good that includes the image of the outside and the message of the inside is moving towards the concept of emptiness going beyond the notion of response these days. If the concept of emptiness entails disclosing the mental significance with the understanding of the line and actions, the emptiness refers to the possibility that the awareness based on the response can be acted out. The artist makes some form, and he covers it with various realistic or significances that are left by the remnant of the time and space (although he does not deviate significantly from the two dimensional tableau format), this is merely vitalization on the instinctive intellect through the form, but itself is not the whole. Focusing on the emptiness of the inside is correct. From this aspect, it is recommended to understand that to him, emptiness refers to the fact that there is a meaning to the emptiness, which is emphasized inversely. As it is evident from many series including the <stuffing and emptying>, he in fact embraces through the series of processes in which some is deducted and embraced. Anyhow, the line that is positioned in a composite manner is the word that best expresses Oh Kwan Jin’s artworks in the clearest manner. The emptiness is the sign of the concept that symbolizes his value system, and the steering guide that indicates the direction of the unconscious for the near future. Of course, his paintings are indeed what unfold in front of us when it comes to the connection of the line and the emptiness. In other words, his paintings are the actual mediums that capture the various internal and external meanings that are entangled like grid, like strings. The more they are based on the reality of the themes or general perception pertaining to Asian paintings, it is required that the audience learn to read correctly. Some times, questions are posed. Although this may be burdensome for those who must find the answers, communication is fulfilling and characterized by interaction when it comes to the intention and significance of the paintings given that the basis is ‘communication.’ To this, the author feels that the paintings such as Buddhist revelation may be like Oh Kwan Jin’s artworks since they are the paintings that can be understood by accepting and reading with the heard, and since the words and texts that are like superfluity are not effective when it comes to Buddhist revelation type of paintings. |
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| Oh Kwan Jin Exhibition - Moon Jar (Filling and Emptying) | |
Oh Kwan Jin Exhibition - Moon Jar (Filling and Emptying) The Moon Jar (Filling and Emptying) exhibition, by Korean artist Oh Kwan Jin, is an attempt to bring new change to Korean art by combining shading with realistic expressionism. The artist uses a knife, instead of ink, to create concise and vivid images and uses the ceramic inlay method to deliver the maximum dimensional aspects to viewers. Oh Kwan Jin describes the beauty and vitality of porcelain, including the form and feel of the material, with excellent photo-quality expressions through this exhibition. An unbalanced moon jar is expressed, with ultra-realism, from the black marks of fire stretching from the rough bowl up to a small crack near the rim; the result of fateful resistance against fire; while the background consists of a surrealistic world where the ume flower grows and a cherry tumbles. The painting is a reflection of the artists attitude as he struggles to extend his art into a new dimension that travels between oriental and western art. Academic Background and Career - Graduated with a bachelor's and a master's degree from Hongik University - 20 private exhibitions (Jang Eun Sun Gallery, HANWON MUSEUM, ARTO Art fair CENTUNM hOTEL, Maekyung Media Center, Myungdong Gallery, The Shrine of Art (4 times), Dan Won Art Gallery, Paris La Defense, Japan Dong Hwa Ji Gallery, Jong-ro Gallery (2 times), La Mer Gallery, Kwan Hun Gallery, Han Seon Gallery, Municipal GongPyung Art Gallery, Byuk Gang Gallery) - group exhibitions: Hwarang Art Festival, InternationalIstanbulArt Fair, lInternational Art Exhibitions (more than 150 times) - Awards: Special Prize at Korea Grand Art Fair, Award for excellence at Korea Grand Art Fair, Grand Prize at Asia Grand Art Fair, Grand Prize at KyungHyang Housing Art Fair, Other awards at international art fairs at Japan, Russia, - Currently: A regular member of the Korea Art Association and Korea Character Designers Association. Councilor of PISA international animation, Director of International Art Exchange, Chief of Korean Art at GyeWon Art High School. - Lectures: Hongik University, Dae Jin University, Cheong Kang University, Chang Won University, Shin Hung University, Hoseo University, Kyung Min University, Baek Seok University. sity. |
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ARTIST Criticism
