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Ga Kookhyun Solo Exhibition :: Painting
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¡ã °¡±¹Çö, ´ã´Ù. ºñ¿ì´Ù. Filling & Emptying, 100x100cm, Oil on Canvas, 2015
Àü½ÃÀÛ°¡ ¢º °¡±¹Çö(Ga Kookhyun ʹÏÑúè) Àü½ÃÀÏÁ¤ ¢º 2015. 06. 25 ~ 2015. 07. 15 °ü¶÷½Ã°£ ¢º Open 10:00 ~ Close 18:00(¿ù¿äÀÏ ÈÞ°ü) ¡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 °¡±¹Çö, ´ã´Ù. ºñ¿ì´Ù. Filling & Emptying, 40x40cm, Oil on Canvas, 2015
¡ã °¡±¹Çö, ´ã´Ù. ºñ¿ì´Ù. Filling & Emptying, 60x100cm, Oil on Canvas, 2015
¡ã °¡±¹Çö, ´ã´Ù. ºñ¿ì´Ù. Filling & Emptying, 60x100cm, Oil on Canvas, 2015
¡ã °¡±¹Çö, ´ã´Ù. ºñ¿ì´Ù. Filling & Emptying, 60x100cm, Oil on Canvas, 2015
¡ã °¡±¹Çö, ´ã´Ù. ºñ¿ì´Ù. Filling & Emptying, 71x31cm, Oil on Canvas, 2015
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¡ã °¡±¹Çö, ´ã´Ù. ºñ¿ì´Ù. Filling & Emptying, 100x100cm, Oil on Canvas, 2015
¡ã °¡±¹Çö, ´ã´Ù. ºñ¿ì´Ù. Filling & Emptying, 100x100cm, Oil on Canvas, 2015
¡ã °¡±¹Çö, ´ã´Ù. ºñ¿ì´Ù. Filling & Emptying, 100x100cm, Oil on Canvas, 2015
¡ã °¡±¹Çö, ´ã´Ù. ºñ¿ì´Ù. Filling & Emptying, 100x100cm, Oil on Canvas, 2015
¡ã °¡±¹Çö, ´ã´Ù. ºñ¿ì´Ù. Filling & Emptying, 100x100cm, Oil on Canvas, 2015
¡Ü Pottery Works Created with Paint Brush by Ga Kookhyun - A Consideration of Ga¡¯s Serial Work ¡®Pottery Images in Canvas¡¯
As we all know, pottery work has been one of the greatest cultural products which have been together with humans since prehistoric times. Pottery work found in numerous everyday spots has not only the precious historical value but is also obviously valuable historical material which helps comprehend the aspects of human life and culture. In each era, cultural heritages exist which represent and embody each period. Of them, pottery work has the longest history, and has been preserved in good condition compared to other old items. Observing the developing process of its various form and technique can probably help infer human¡¯s life and its style in those days. In Korea, pottery has been made and widely used chronologically: earthenware during the prehistoric time and the period of United Silla, celadon during the Koryo Dynasty, white porcelain and buncheong ware during the Joseon Dynasty. As such, Pottery work has been deeply associated with our lives and culture as integral living tools, gaining a status of magnificent cultural heritage to be sublimated into art.
Adopting Hommage of pottery works¡¯ image with a variety of ways caught the attention of contemporary artists regardless of genres. Art historians such as Woo Hyeon Koh Yuseop(1905~1944), Hyegok Choi Sunu(1916~1984), Sambul Kim Wonryong(1922~1993) have tried to explore the indigenous characters of Korean beauty through pottery. In contemporary ceramic art, pottery is being produced with unique and refined technique and is presented in other genres including paintings, sculptures, photographs, crafts and media arts through methods featuring their art world. Paintings, in particular, have constantly taken the motifs from pottery, continuing to do this these days. Kim Hwangi, the pioneer of Korea Avantgarde and abstract art can be called representative artist to have adopted the motifs from Moon jar, along with nature including rivers, moon, mountains and clouds. Artists, Kim Gichang, Jang Ukjin, Jungkwang, and Byeon Gwansik also put pottery images into their paintings as prime theme. Moreover, they drew these motifs on the surface of actual vessels, leaving behind many ¡®pottery painting¡¯.
Ga Kookhyun is also enthusiastic for embracing these motifs at an early stage. In the preface of his show in 2013, I¡¯ve ever commented his paintings pertaining to pottery motifs. ¡°Ga is also a sort of potter creating pottery works through paint brush strokes. In his paintings, these motifs including flower vases, trays for tea sets, dishes, and tea bowls often appear.
Ga has been developing an ingenious art world taking various motifs from still-life paintings, landscapes, and portraits. His works can be summarized like these: harmony of intense, refined complementary contrasting colors, flowing brush strokes, coexistence of figurative and abstract art. In this exhibition, he showcases the serial work titled ¡®Pottery in Canvas¡¯, which suggests that his still-life pieces enter into a new stage. Vases which were used for decorative purposes are now placed at the front, on the other hand, flowers with which the canvas was filled turned supplemental. Such inversion of position means that his idioms are being changed; the relation of each element becomes mutual complementary rather than subordinative. His art world established by harmony between color and form has mainly focused on public affinity and mutual communication based on perspective of aestheticism.
Ga Kookhyun is at a turning point by presenting this serial work which is maximized and simplified. He doesn¡¯t have much interest in art market that follows public tastes and mainly emphasizes sculptural beauty. Instead, the artist puts emphasis on embracing multiple attributes of pottery and pursuing lofty spiritual world. Consequently, significant keywords for depicting his serial work can be defined like these: subtle, austere and natural beauty, purity, unexaggerated stable atmosphere, flat and solid Matiere, solid and flat one, contemplation, introspection, simplicity, emptiness and impletion, connotative forms, and restrained expression.
The serial work which will be presented in Morris Gallery this time is output from creative thinking inspired by his enthusiasm and longing for the new. The artist, who is a pottery collector as well, not only puts some ceramic pieces around himself, but also utilizes them in his everyday life. In addition, through thinking its beauty, practical function, and artistic value, he can deeply recognize its true nature, adopting these elements in his own paintings. Feeling rather embarrassed by his paintings which is extremely maximized and simplified while visiting his studio, I recognized that this change is caused by his sculptural idioms quite different from his previous works. Surprisingly, he covered a whole canvas whose size is about 160x130cm with one huge bowl image! Staring at the work for a while, I could naturally commune with his intention and said to myself, ¡°It has to be like that¡±, with my perplexity disappearing. The bowl of flowing brush stroke in subtle background seems to be superior to Kizaemon I-Do Tea Bowl(Japan National treasure No. 26), I-Do Tea Bowl which is highly extolled by Japanese. Its texture is in an atmosphere similar to that of actual one and it has snowflakes patterns on the surface, conveying the idea that thick, rough surface seems to be attached by actual ceramic pieces. In using colors, bright and splendid hue on past works is mostly restrained and using matching colors on subtle background produces mysterious atmosphere, enabling viewers to be deeply immersed into his works as well. In spite of the change on motifs and expression technique, the essential elements in his pottery painting are: multiple attribute of pottery and pursuit of noble spiritual world. By pursuing sophisticated personality beyond secular and quotidian lives, material and spiritual energy can get together, which enables us to meet authentic ego. Eventually, the serial work ¡®pottery in a canvas¡¯ can be defined as precious output of allegorical paintings toward lofty spiritual world.
¡ã °¡±¹Çö, ´ã´Ù. ºñ¿ì´Ù. Filling & Emptying, 100x100cm, Oil on Canvas, 2015
¡ã °¡±¹Çö, ´ã´Ù. ºñ¿ì´Ù. Filling & Emptying, 102x24.2cm, Oil on Canvas, 2015
¡ã °¡±¹Çö, ´ã´Ù. ºñ¿ì´Ù. Filling & Emptying, 107x105.5cm, Oil on Canvas, 2015
¡ã °¡±¹Çö, ´ã´Ù. ºñ¿ì´Ù. Filling & Emptying, 150x150cm, Oil on Canvas, 2015
¡ã °¡±¹Çö, ´ã´Ù. ºñ¿ì´Ù. Filling & Emptying, 150x150cm, Oil on Canvas, 2015
Ga Kookhyun who has been seeking constant variations looks truly beautiful. He continues focusing on working itself with serious attitude regardless of his reputation in art markets. He remarks that he has a long way to go beyond the present and has numerous works which he wants to create, keeping alert. He has been developing his distinctive art world under the theme like landscapes, portraits, still-life paintings, and through this exhibition, he is extending his artistic sphere with new motifs and perspective. Ga Kookhyun, enjoying golden age, is expected to stimulate himself and viewer¡¯s emotion. The artist is very likely to shut himself in the studio, struggling with himself at this very moment, which is vivid in my mind. This is truly beautiful scene. ¨Ï
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