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 Àü½Ã±â°£ : 2013-11-14 ¢º 2013-11-20
 Âü¿©ÀÛ°¡ : ³ëÁÖ¿ë(Noh Jooyong ÒÆñ²éÌ)
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¡º ³ëÁÖ¿ëî÷ ¡»

Noh Jooyong Solo Exhibition :: Painting







¡ã ³ëÁÖ¿ë, ½£10-2013, 60.6x72.7cm, Acrylic on Canvas, 2013






Àü½ÃÀÛ°¡ ¢º ³ëÁÖ¿ë(Noh Jooyong ÒÆñ²éÌ)
Àü½ÃÀÏÁ¤ ¢º 2013. 11. 14 ~ 2013. 11. 20
°ü¶÷½Ã°£ ¢º Open 10:00 ~ Close 18:30(ÁÖ¸» ~18:00)
¡ï ¡« ¡ï

¸ð¸®½º°¶·¯¸®(Morris Gallery)
´ëÀü½Ã À¯¼º±¸ µµ·æµ¿ 397-1
T. 042-867-7009
www.morrisgallery.co.kr







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¡ã ³ëÁÖ¿ë, ½£2-2013, 130.3x162cm, Acrylic on Canvas, 2013



¡ã ³ëÁÖ¿ë, ½£3-2013, 112.1x162cm, Acrylic on Canvas, 2013


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¡ã ³ëÁÖ¿ë, ½£4-2013, 70x140cm, Acrylic on Canvas, 2013



¡ã ³ëÁÖ¿ë, ½£5-2013, 70x140cm, Acrylic on Canvas, 2013



¡ã ³ëÁÖ¿ë, ½£6-2013, 70x140cm, Acrylic on Canvas, 2013



¡ã ³ëÁÖ¿ë, ½£7-2013, 65.1x90.9cm, Acrylic on Canvas, 2013







¡Ü A Mass of Memories Piled up in Lines

¡ÚBy Hwang Sunhyung, Morris Gallery & Art Hub Director

Here is a forest. A quiet stillness prevails in the forest. The tranquil forest is enlivened with light pouring down among leaves. Energy radiating from the forest gives rise to new life, sustaining the dream of being immortal. Birds chirp, and all life in the forest sings a choral song of joy. It is a beautiful, harmonious, heavenly harmony leading to utopia. We feel relaxed and comfortable in the forest, as in the womb. The forest is peaceful like a haven where we can relax our fatigued body and mind. The forest is none other than life. These are fragmentary thoughts about the forest. Here is another forest. Splinters of light pour down toward a forest, vivid as a photograph. The forest in the frame is of trees and plants. There is no blank space in the forest, only subdued rays of light warmly filling the frame. The forest is not seen from a distance, but a position in which we walk, and feel the forest flesh. The tangled flesh appears hypnotic. This is Noh Jooyong¡¯s forest.

For Noh, the forest was a special place and space as a child. He always stayed in the forest, only staying in his house to sleep and his school to study. The forest was a field for exchange with his friends, a playground where he played all day, and a place for learning and feeling the value of nature and life among the trees, plants, birds, and insects. Accordingly, his special childhood memories are saved within the forest; and, these memories are revived by the forest too. And yet, the forest imagery he presents in his works is not private. It is a common forest we may have seen before, there within our memories, arousing deep sympathy. Noh¡¯s forest is a universal, for us coming out from a secret room into a plaza.

As mentioned, Noh¡¯s forest is the one we often see in our quotidian life. Although often addressed in visual art, Noh¡¯s forest is just common. But, we experience a dramatic visual phantasmagoria in his forest. Noh¡¯s forest looks vivid when seen from a distance, but it changes to a feast of many lines when seen close-up. This is the border of the dramatic turnabout Noh intends to represent. Twofold meaning and phenomena such as familiarity and unfamiliarity, convenience and inconvenience, memory in mass and pieces, image deconstruction and combination¡¦: all overlap at this border, coexisting with an antipathetic irony between existence and absence. We lose our way at the border and fall into a maze. Amazingly however, a mass of deconstructed memories revive as fragmentary memories at the moment we fall. The hidden fragments of memories, as in a picture puzzle, are his childhood dreams and longing. The dramatic moment of his revived longing shows a hallmark of Noh¡¯s painting.

In terms of expressive method, Noh¡¯s work is ingenious. Although his idioms appear anchored to the principle found in Impressionist pointillism, he has modified and developed his painting style in his own distinctive way to fit the hallmarks of his work. Lines drawn with a thin brush are rendered in a modern style evoking a feeling as realistic as a photograph through a repetition of complementary color contrast and juxtaposed mixture of accumulated time, line, and color. Tangled lines that look disorderly and even chaotic are elaborately embodied by his intrinsic algorithm and completed as a work of art.

Realizing this attribute of his work, appreciators may exclaim and be astonished. An aura deriving from the immeasurable time and numerous lines in his work is like a state of perfect selflessness and truth-seeking, leading viewers to a reverent state of the mind. Several changes are discovered in the exhibition. Thin brush marks found in his previous work have become slightly thicker; and the forest images - lucid and vivid as photographs ? become images in a seemingly rough rich texture, showing a vigorous, lively appearance. Also, he has expanded his perspective and subject matter to the woods through a distant view, and draws the sky into his canvas, exploiting this as a blank space.

Noh confesses ¡°My painting is confused, due to the strange eye looking into the soul of the woods, with heterogeneous algorithms found in fragments of chaotic forms and chasms of memories arising through memories.¡± He describes the inner-nature of the woods as ¡°a feast of numerous contours, chaotic patterns, and wriggling lights.¡± He defines his work as ¡°a painting chronicling my memories,¡± saying ¡°innumerable questions raised in my soul are about forms capturing an aspect of my memories,¡± while asking ¡°My work stems from strange memories depicts a forest, but even so, do I have to see the forest?¡± He also accounts for his work integrating his memories with his present state, stating ¡°I discover the passage of time in a family photograph featuring my son who has grown so tall and my wife who is getting slightly old. The work of saving fragments of memories from woods of the past and present is interesting.¡± He says, ¡°The visible is not all in the painting. There are relations among the forest, me, and light. That is, my work is to discover a point of compromise between me and the absolute.¡± He concludes by saying, ¡°As a producer of images I am afraid of relations with other images, but the images appear as ones I have seen somewhere. This suggests I am not alone and I communicate with them. Do I try to discover a spiritual resting place within them?¡±

The above are all excerpts from his statements in the form of short sentences the artist has made notes in his spare time, arranging the exhibition, but some parts are ambiguous due to metaphoric expressions. And yet, they are enough to read his intent. In short, 1) my work was triggered by my memories, 2) A forest is a mass of my memories or pieces of my memories, and 3) my work is after all a record of my memories.



¡ã ³ëÁÖ¿ë, ½£8-2013, 60.6x72.7cm, Acrylic on Canvas, 2013



¡ã ³ëÁÖ¿ë, ½£9-2013, 65.1x50cm, Acrylic on Canvas, 2013



¡ã ³ëÁÖ¿ë, ÀºÇ೪¹«, 50x65.1cm, Acrylic on Canvas, 2013


I feel astonishment and awe in the fact Noh not only completes his work of strenuous labor and lengthy time, but represents common objects in his own distinctive idioms, demonstrating his superb modeling ability. It is apparent that his sincere attitude of putting his heart and soul into his work rather than doing merely superficial, seemingly glossy work and his pure artistic spirit not flattering any commercial tendency will shine more brightly than ever. Much is expected of his stride forward. His upcoming activities are worth watching.
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