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2012.
7. 4- 2012. 7. 22
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±× ÀÚü ¶Ç ´Ù¸¥ À¯ÅäÇǾƸç ÀÌ»óÇâÀÏÁöµµ ¸ð¸¥´Ù. (ÀÌÇÏ »ý·«)
Atlantis and Room of My Wife, Motives
for Ideal Pursuits
Kho Chung-Hwan, Art Critic
Yu Kwon-Yeol was awarded the grand prize
at Joongang Grand Exhibition in 1997 and the following year,
1998, he was once again awarded the grand prize at Kanagawa
International Print Triennial. Since the honor of the grand
prize is not often granted to any printing art work, it was
unprecedented for him to be awarded the grand prize at Joongang
Grand Exhibition. In retrospect, his works were appreciated
as the fine art masterpieces that transcended the realm of
printing art. His successful experiment with the forms that
overcame prejudices against the characteristics of printing
as an art form must have been widely recognized. According
to those prejudices, printing is generally regarded as the
art that creates dense images within the framework of relatively
small screen and limited flat surface. However, his works
are not only limited to small screen, but to flat surface.
His works where he placed his prints in the frame and added
various objects to the prints look projected on the flat surface
like some three dimensional models. His conception of dividing
a print into parts and reorganizing them was received as quite
original at the time and furthermore, the delicate details,
which is almost impossible in paintings, and vivid surface
textures of his works indicate more than the simple integration
of printings and paintings, The composition of his experimental
works reached up to a third coordinate which transcended mere
sum total. He expanded the realm of expression by printing,
employing size and three dimensions and penetrated the void
inside paintings with delicate details, which played a pivotal
role for the intended effects. Since then, the artist has
been creating his works, experimenting with various mixed
media crossing over between printing and painting. He expresses
the aesthetic senses unique to printing in his works, but
do not allow his works to be limited to the characteristics
of printing as a particular genre, moving forward in his search
for the coordinates of his own. The subjects and objects of
his works have been through various changes on the outside,
but much of the forms from his previous works have been maintained.
He seems to have attempted certain variations and deepening
of the recurring theme.
Atlantis; In search of the lost ideal and the ideal in everyday
living. It is safe to say that everyone has his or her own
ideal in his or her mind or heart. That is the place of refuge
where we could go and rest when we want to run away from our
realities in this world. It is like the room of our own in
the deepest of our hearts. Philosophers dreamed about these
ideal places and thinkers believed that such Utopia could
be realized on this earth. Atlantis is the Utopian civilization
and its presence became known thanks to the account of Plato
who dreamed about the ideal of politics by the philosophers.
Atlantis, an ancient civilization, is the legendary continent
that has been said to have sunk into deep seas for the reason
not known. Atlantis symbolized an unreachable ideal place.
The fact that the ideal sank with the continent implies symbolic
meaning. Utopia is said to be conceptual image which was created
by human¡¯s imagination and projected by human desire. Utopia
cannot exist in reality. And the untopian Atantis sank into
the deep seas. The deep seas symbolize the unmeasurable abyss
in human minds. People have their own utopian Atlantis very
much hidden in the bottom of their own abyss within their
hearts. Yu Kwon-Yeol attempted to deliver the continent Atlantis
from the bottom of the deep seas where it sank. But, what
he took out of the deep sea water was his desire that is,
in fact, inseparable from his utopian ideal. The ideal should
be ideal. It should be free from and not be damaged by the
principles governing realities. If the present realities were
chaos, chaos could be organized by cosmos. Ultimately, the
ideal can be said to establish a certain inner order and thereby
build the cosmos within the mind of the person who holds the
ideal. If that is the case, how can the cosmos can be represented
or symbolized? How can any contextual frame be provided to
the cosmos? That was why certain symbols and schemas were
introduced to express the frame of representation. The artist¡¯s
works have shown powerful symbolism and schematism. Religious
icons are typical prototypes. Therefore, the artist¡¯s works
are similar to religious icons in terms of the schematic forms.
Such icons immediately attract our attention without any distraction
due to centered composition and strict symmetry. Frames can
be seen as a gate or a passageway. The gate or the passageway
acts like the border that divides between current realities
and the next life, consciousness and subconsciousness, everyday
living and ideal, the present and the past, and the present
and the future. His works are intended as rites of passage
that take you from this life to the other life and therefore
can be interpreted as schematized ritual for our rebirth.
Darkness is accentuated by a black and white monotone screen.
Out of the darkness that looks like bottomless abyss, the
artist excavated his own utopia and ark. Such symbolism and
schematism as shown in his previous works, especially his
schematic forms have been maintained, deepened in meaning
and used as themes for variations in his works that deal with
everyday living and realistic subjects and objects rather
than idealistic and conceptual. An ideal is a metaphysical
subject. Every day reality is a concrete and physical subject
matter. The artist has been shifting the paradigm in his works
from metaphysics to concreteness, from ideal to every day
realities and from conceptual philosophy to feeling of everyday
living. The everyday realities to which the artist paid newly
found attention may be another utopia and ideal rather than
remain just part of everyday living in that humans were, are
and will never be free from everyday realities and they only
can pursue their ideals among everyday realities under any
circumstances.
The room of his wife, the scent of his wife and love letters
dedicated to her. She is not there in her room. It has been
long since she¡¯s been gone. However, it feels like she is
here in her room now because she left her scent as part of
her. Strictly speaking, the scent of his wife belongs to the
artist himself than to her. It is the scent conjured up by
the artist in his minds rather than the real scent of his
wife. The scent that turned her absence into his longing for
her and her absence into her imaginary presence only in his
minds; His wife should be here in her room. That¡¯s why the
artist has been drawing on all the still objects and parts
of things in her room. However, he finds himself feeling her
presence while he is immersed in his drawing of the objects
in her room. Ironically, he feels her presence ever more clearly
at her absence in more vivid way than when she was really
here in her room. Absence has its void. The void needs to
be filled with his imagination. He filled the void with his
deep longing for his wife. His wife¡¯s imaginary presence at
her absence feels even stronger than ever before with his
heartfelt longing for her. Such longing for her transforms
absence into strongly felt presence like magic. That¡¯s the
way her absence has been utilized in his works. His works
have landscapes as in Asian black ink paintings, the objects
of his works he found in the transformation process are more
of still life or part of everyday living things. You can find
the platform like a dressing table in his work and still life
objects are neatly placed on top of it. There are some exceptions,
but most of his works attract immediate attention to centered
composition and strict symmetrical schema. Those strictly
schematic attempts in his works let quiet and meditative force
flow throughout his works. As if time were completely stopped
as in the stuffed specimen, it seems that perpetual flow of
eternity stops at the moment when the works were created.
His wife¡¯s imaginary presence veils over everyday still life
objects, transforming them into ideal still life objects and
landscapes in his minds. The artist seems to pay his tribute
to the newly transformed sacred everyday realties. That seems
to be the reason the artist engraved GRACE in the front face
of the platform that reminds us of a dressing table. (In some
works, the word Atlantis can be found.) The still life objects
he paints can be interpreted as the embodiment of his absent
wife and his longings for her as well. A butterfly, like a
message his wife could have sent, is fluttering in front of
the embodiment. His works can be seen as usual still life
paintings. However, the artist transforms those ordinary still
life paintings by completely coloring them with the veil of
his personal feelings and experiences. He points to certain
aesthetic coordinates where universality and peculiarity,
and objectivity and subjectivity converge into one. While
reflecting on a series of his still life paintings created
by his heartfelt longing for his wife, one cannot help feeling
that there could be no better love letters than these works¡¦.
À¯ ±Ç ¿ Yu-Kwon Yeol
1968~ ÀüºÏ ³²¿øÃâ»ý
1995 ´º¿åÁÖ¸³´ëÇб³(New Plaltz) ÇÏ°è µ¹¼®ÆÇÈ°úÁ¤ ¿¬¼ö
1997 È«ÀÍ´ëÇб³ ¹Ì¼ú´ëÇÐ ÆÇÈ°ú Á¹¾÷
2000 È«ÀÍ´ëÇб³ ¹Ì¼ú´ëÇпø ÆÇÈÀü°ø Á¹¾÷
°³ÀÎÀü
2012 Á¦11ȸ °³ÀÎÀü - °¶·¯¸® µµ¿Ã ÃÊ´ëÀü - ¼¿ï
2011 Á¦10ȸ °³ÀÎÀü - °¶·¯¸® µµ¿Ã ÃÊ´ëÀü - ¼¿ï
2006 Á¦ 9ȸ °³ÀÎÀü - ¸¶´ÏÇÁ¡®12 ±âȹÃÊ´ëÀü - ¿¹¼úÀÇÀü´ç - ¼¿ï
2003 Á¦ 8ȸ °³ÀÎÀü - °¶·¯¸® µµ¿Ã ÃÊ´ëÀü - ¼¿ï
2003 Á¦ 7ȸ °³ÀÎÀü - ¸¶´ÏÇÁ¡®10 ±âȹÃÊ´ëÀü - ¿¹¼úÀÇÀü´ç - ¼¿ï
2002 Á¦ 6ȸ °³ÀÎÀü - °¶·¯¸® µµ¿Ã ÃÊ´ëÀü - ¼¿ï
2000~¡®97 °³ÀÎÀü 6ȸ - ¼¿ï
¼ö »ó
2003 ŸÀÏ·£µå ±¹Á¦ ÆÇÈ µå·ÎÀ×Àü <¸ÅÀÔ»ó> - ¹æÄÛ - ŸÀÏ·£µå
2002 ¼ÛÀº ¹Ì¼ú´ë»óÀü <Áö¿ø»ó> - °øÆò¾ÆÆ®¼¾ÅÍ - ¼¿ï
1998 °¡³ª°¡¿Í ±¹Á¦ ÆÇÈ Æ®¸®¿£³¯·¹ <´ë »ó> - ¿äÄÚÇϸ¶ - ÀϺ»
1997 Á߾ӹ̼ú´ëÀü <´ë »ó> - È£¾Ï°¶·¯¸® - ¼¿ï
±¹Á¦Àü
2012 7-th Novosibirsk International Biennial of Contemporary
Graphic Art 2012
Novosibirsk State Art Museum - RUSSIA
2011 Á¦5ȸ ÇÑ, Áß ´ëÇÐÆÇÈ ±³·ùÀü - È«ÀÍÇö´ë¹Ì¼ú°ü - ¼¿ï
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