Brother and sister, Acrylic on canvas, 60.6x50.0cm, 2017
Brother and sister, Acrylic on canvas, 60.6x50.0cm, 2017
While surfing the web, I accidentally read an article. The Syrian civil war has caused numerous casualties, but it is relatively less interested and easily forgotten in people's minds than the issues that occurred in the West. Looking at the pictures in the article, I couldn't forget the image of young boy holding his young sister, especially in the sight of the shell-filled death.
Because I have a younger sister than me, the pictures of the siblings were heartbreaking, and for what reason should young children and innocent people suffer pain incomparable to any other pain in the middle of a civil war? I kept wondering and thinking. And I thought about what I could do, and after thinking about it, I decided to do what I could do best. It is to draw a picture of the pain of a young brother and a little sister in the picture, and to let many people know the fear of death. That's what motivated me to paint this picture.
To a young girl in fear, he may be the most reliable and reliable person in the world. He, too, wants to be protected by fear, but he may think that somehow he has to protect his scared sister.
I wanted to convey the chaotic situation with an unorganized brush touch in the background, and I wanted to put the weight of a guardian in the image of young boy, who is covered in sand but is hugging his brother with a firm expression and gesture. And young girl, who is in fear and in his arms, tried to capture feelings of fear and confusion similar to the background, and expressed the rough and colored touch.
Overall, I wanted to put a common feeling of fear and confusion in the painting, and I expressed it so that people could feel closer to young boy, who is hugging his sister through brother and sister, and young girl, who is relatively more afraid than her brother.
Brother and sister #2, Acrylic on canvas, 60.6x50.0cm, 2017
Brother and sister #2, Acrylic on canvas, 60.6x50.0cm, 2017
Brother and Sister's work focused on expressing the feelings of siblings, while Brother and Sister #2 reinterpreted it based on my inspiration and sent a message that each and every one of us living in the global community should be more interested.
Gray smoke rises in saturation over the road where the little girl is hiding, and in it, the image of the earth we live on is the image of the world.
The left side of the painting represents the realms and beings of nature that are not related to the human world, and the existence of what seems to be wearing a black cape in the middle of the painting represents a transcendent being that cannot distinguish between good and evil.
The right side of the work depicts us passing by with an indifferent attitude. In this way, the three elements of the work described above expressed the issues we should be interested in.
Self-portrait, past, present and future, Acrylic on canvas, 80.3x65.1cm, 2016
Self-portrait, past present and future, Acrylic on canvas, 80.3x65.1cm, 2016
'Self-portrait, past, present and future' is my self-portrait painting. I wanted to put my hopes, aspirations, and resolutions for my life living by painting on the spot with the impromptu idea of painting a self-portrait, and I soon thought that I should capture the past, present, and future in one picture.
Past, long hair contains the image of me in the past and has a symbolic meaning that began with the expression of my ego. It contains the nostalgia for the past when I was seeking freedom and the present determination to go back to that time.
Present, the eyes of the person are said to contain the soul of the person. I also think that the eyes of a person are a microcosm of the universe containing countless stars and planets. In front of the infinite name of the universe, time and space become meaningless, and I thought of the past, present, and future as one. While I was drawing the eyes of the self-portrait, I thought of one thing: the time of the past when I decided to live while painting. The time of the present when I try to live more and more in society. And even the time of the future when painting became a life, I thought that I was one of the times of my life when I was walking toward painting.
Future, if you look at the three biker patches, you can see that they are clean except for the 'ROAR OF ASIA' patch on the bottom left. For everything in the world, it takes a process to produce results, and I think the first step is more important than the process. For me, I would like to say that 'ROAR OF ASIA' is the beginning and the root of many worries and thoughts about my self. I wanted to say that it became the first step for me to think about and think about all the things that are inherent in me, and that I have been spending this time and will produce the results of the 'PRESIDENT' patch in the future. Next to the white 'PRESIDENT' patch on the left is a white and white patch. The patch in the white blank space has my physical roots in Korea, but just as the existence of great artists is not limited to the country in which I was born and affects the whole world, my roots in painting have a commitment to expand beyond Korea and beyond.
*To briefly describe a typical biker patch, from the left, the position of the 'PRESIDENT' patch represents the position of the motorcycle club you belong to. The position of the 'ROAR OF ASIA' patch right below represents the name of the motorcycle club you belong to. Finally, the position of the 'right' white patch represents the 'branch of the motorcycle club you belong to'. For example, you can mark the region and country you belong to.
In the not-so-old past, I had the opportunity to study painting in England if I took one step further. However, I lost that opportunity due to my choice, and now I am putting more thought, concern, and effort into re-granting it. Looking at the present reality alone, I can never say that it is better than the past situation. It's not a situation where you can try a little somehow and solve it clearly. Even the people you love around me say that it doesn't fit the reality and to come back to reality.
Of course, most of all, it is a story of my loved ones who wish me well, so sometimes I get hurt, but I try to open my heart and listen, and I look back on my actions and reorganize my plans so that I can approach and think more realistically about the plans I want to achieve in a shorter time.
I hope, aspire, and crave more than in the past. I put that desperate heart in the background. In the near future, I will be in my place where I can see the background in the painting.
Knucklehead bike kickstart, Acrylic on wodden board, 60x80cm, 2017
Crow, Acrylic on canvas, 35x27.5cm, 2017
Untitle, Acrylic on canvas, 22.5x16cm, 2015
ROAR OF ASIA, Acrylic on canvas, 50.0x60.6cm, 2013
Self-portrait, Acrylic on canvas, 60.6x50.0cm, 2013
Self-portrait, Mixed media on wooden board, 2013
Self-portrait, Acrylic on canvas, 60.6x50.0cm, 2013
Since I was a teenager, I have been curious about my own existence. Then, why am I not as ordinary as my peers? I thought about it for a long time, and soon decided to objectify and observe it after excluding my own subjective appearance as much as possible. And I tried to draw it through mirrors and photos, but after excluding my subjectivity in the traditional way, I came to the conclusion that it was not easy to draw myself.
Wouldn't it be possible to observe myself objectively if I suddenly took an MRI scan of my brain in my head and drew it as close to reproduction as possible? An idea came up and I drew the image of my brain on an MRI scan. And I thought that the shape of a person's face that often comes to mind could be a self-portrait, but the shape of my brain could also be a kind of self-portrait that symbolizes me, and in conclusion, it was an opportunity to reflect more deeply on my way of relating to the world and, above all, my own self and values through a self-portrait work that objectively excludes subjectivity as much as possible.
My house(Hope, dream and desire), Acrylic on canvas, 72.7x53.0cm, 2013
My house(Hope, dream and desire), Acrylic on canvas, 72.7x53.0cm, 2013
Isn't home a collection of desire that combines hope and dreams for modern people living in modern society? I've thought about it.
I also think I have been constantly thinking about the ideal house I want to live in, although it has changed depending on the situation at the time. When I was young, watching the movie Home Alone, I had fantasies about a large garden in the pool, an American country house decorated with colorful Christmas decorations, and in my adolescence, I had fantasies about luxury villas and apartments of celebrities with views of the Han River broadcast on various broadcast media.
Even now, if I can live in a space with a view of the Han River, there is no reason to refuse, but I have a slightly different idea. Would I be happy if I lived in a big house and a fancy house? Can I give you satisfaction? I haven't lived in it yet, so I can't say anything, but if there is a dead space that does not exist beyond the radius of my life, I will feel anxious. So, I became interested in minimalism and a small house and thought about the size of the space that is essential to live. And between the minimum space necessary to live, more space than necessary to live, your own small kingdom of home, and the two spaces, what kind of house can give you the greatest happiness as a haven? I thought about it.
This concern led to my current desire and regret for a space where I can work without being disturbed by anyone, and that worked the most, naturally creating an ideal space where the studio and residential space in the work were combined. And while looking at the finished work for a long time, maybe the desire for home and the desire for space are the same, and isn't it the expression of hope and dreams for the situation in which you feel regret in your present life? I thought.
