호리아트스페이스와 함께한 작가를 소개합니다.
얀 칼럽 (1978-)
Shape and color are the main characters of Jan's work, which he blends together to exaggerate or minimize forms.
Sometimes Jan’s work may resemble a particular shape, but it is never his intention to capture or replicate an existing image or narrative.
Rather, he seeks universal beauty in an unseen and novel perspective and redirects the known into the unknown; into a new dimension.
Kim Myung-Joo majored ceramic sculpture at the Hong-ik University and graduated Master of Arts degree at the
École nationale supérieure des Arts visuels in Brussels. Starting with the emotions she felt in a foreign country,
the artist expresses questions about existence and unfamiliar thoughts about absence through various formative works.
朴孝彬, 박효빈 (1981-)
Park Hyo-Bin has drawn various emotions felt by looking at nature. And the artist embodies the hugeness of nature,
such as mountains or forests, or the emotional lingering feeling of awe encountered through everyday experiences
and captures them as edited landscapes. In addition, she steadily develops the back side of everyday scenery and
expands them to the 3rd and 4th dimensions.
Jung Ji-Sook focuses on the fact that everything that living things do is 'to live'.
The artist embodies ‘vitality’, a common feature of all living things, as a keyword.
In addition, she visually embodies the senses and emotions that feel alive based on human or animal forms.
Cha So-Lim is interested in the process itself of letting the suppressed and fixed inner feelings flow, and expresses the possibility
of fluid change in a potential form through object work made of materials such as plaster or thread and surrealist painting work.
千大光, 천대광 (1970-)
Chen Dai-Goang's style of work can be defined as a 'comprehensive world of work that crosses sculpture, installation,
painting, crafts, and architectural areas’. In particular, Chen reinterprets the physical and architectural elements of the exhibition
space with the artist's unique sensibility to find the contact point that can be most ideally harmonized with the work.
Therefore, it seems that he could embody the ‘completion of the work method, which is the best site-specific,’ in the historical, social,
and cultural context of the venue where his work is placed.
Seung Yun-Ray graduated from Seorabeol University of Arts in 1971 and has held 4 solo exhibitions at HORI Artspace,
Gallery Joeun, etc. With “Palm tree” as the main subject matter and crayon being her favorite painting media, Seung’s works
in such oil-based coloring sticks flaunt depth and freedom that does not fall short of oil paintings.
姜旻秀, 강민수 (1972-)
Kang Min-Soo is well-renowned for the “Moon Jar that combines the traditional and modern visual beauty”.
The simplest visual language of form and space, emptying and filling, and the philosophy of “Matter is Void (色卽是空)” are all
embodied in Kang Min-soo’s Moon Jar.
Kim Chan-Il is known as “an alchemist who twists and recombines the existing rules of fine art".
The wave and energy by the fragments on canvas, and the tactile screen born from light and shadow depending on
the viewing angle are the striking originality of Kim Chan-Il’s art.
蔡成珌, 채성필 (1972-)
The beginning and the end of Chae Sung-Pil’s work is soil. The abstract image is born by painting layers of silvery powder
made with finely ground pearl for the background, then spraying it with his original pigment made with soil, then letting it drip.
Therefore, his painting starts from understanding soil’s intrinsic nature to the process of new interpretation.
崔永旭, 최영욱 (1964-)
Choi Young-Wook has been presenting the theme of “Karma (destiny, fate)” with Moon Jar as his motif.
When asked “Why paint only Moon Jars?” in an interview, Choi’s words were; “Not telling much but embracing much,
looking extremely simple yet exceptionally sophisticated – When I gaze upon the creation, it feels like I’m confessing
“my story of hope to live like a Moon Jar” rather than painting it.”
許明旭, 허명욱 (1966-)
Huh Myoung-Wook is renowned for his lacquer-based works of fine art, 3-dimensional, installation, craft, furniture, and object.
His labor-intensive production process of coating with layers of lacquer, drying, erasing, and repeating all over is the traditional style
of heavily pouring in time, and the result is profoundly sophisticated with an apparent unique taste and sentiment.
劉賢經, 유현경 (1985-)
You Hyeon-Kyeong's portraits are full of liveliness as if the emotions that occur at the first moment of meeting the model
and the tension of various layers formed in the process of painting were transferred with the brush.
It doesn't matter who she drew or how many times she drew a particular figure.
They are portraits faithful to the inner emotional line beyond the shape,
just like the “Jin Kyung San Su Wha(眞景山水畵)” which means authentic view landscape painting of Korea.
필립 그뢰징어 (1972-)
With all of its simultaneously playful, witty, but also melancholic and gloomy elements,
Grözinger not only conveys that the world can no longer be oriented towards a fundamental order,
but insists that the existence of such order has always been a mere fantasy.
尹棅洛, 윤병락 (1968-)
Yoon Byung-Rock defines apple as "a word found in the dictionary of nature."
Through the medium, he talks of the beautiful image of vitality that is relatable to anyone.
Just as the words of an art critic Seo Seong Rok who commented, “Through seeing Yoon Byung-Rock’s paintings,
we finally came to realize how amazing that common fruit is, and what splendid world we’re living in,”
Yoon’s apples seem to possess an irresistible spell.
閔丙勳, 민병훈 (1969-)
Director Min's works are based on the objective record through a camera’s lens; the raw pieces of the 'compressed image'
that transcend time and space displayed on the monitor. Also, he attempted unconventional variations and extensions of
documentary grammar in his own way and make his own 'poetic film'.
邊雄必, 변웅필 (1970-)
Byen Ung-Pil has practiced the painting style of having a clear message but delivering it in the utmost restraint,
for he wishes for his works to be interpreted without boundaries, by each viewer according to his/her own convictions.
松泌, 송 필 (1970-)
The biggest charm of Song Feel’s works is his sincerity.
There is no fictitiousness in any of the theme or the production process.
His state of mind is to contemplate the cycle of life with faith in its infiniteness.
데이비드 레만 (1987-)
David Lehmann touches on a wide range of topics related to human subjects - particularly combining
the events and phenomena occurring in present days with scenes from history or ancient Greek myths – in
pungent yet humorous manner.
On top of that, Lehmann spontaneously expresses impressions or inspirations received
from other forms of art namely literature, film, and music.
尹鍾錫, 윤종석 (1970-)
“I record my memories as if I were collecting things that come into my sight while looking around.
Through their accumulation, I shall be able to see tomorrow’s today through yesterday’s today.”
安昌鴻, 안창홍 (1953-)
Ahn is setting the example of dismissing the stagnant and opening new paths.
At first, they seem a bit confusing and chaotic, but with time, we learn hardly any of his suggestions were wrong.
金南杓, 김남표 (1970-)
Through his activities at “Group Mak (2000-2005)” Kim’s attempt to expand his way of expression
at the National Theater of Korea, the Seoul Arts Center’s Towol Theater, and Anyang Stone and Water Gallery
has created the current working format that is not tied to a fixed framework.
趙英男, 조영남 (1945-)
Cho’s career of having been a pop singer despite majoring in the most traditional field of vocal music
resembles his identity as a painter who advocates “Pop art with Korean sentiment”.
However, behind his achievements, there must have been an endeavor to cultivate
his own originality in admiration toward “the brilliance of Lee Sang”.
朴崍賢, 박래현 (1926-1976)
Park Re-Hyun studied the technique of simultaneous multicolor printing on copperplate prints,
which became popular back then. After mastering printmaking techniques, Park showed her interest in the
formativeness of negative space by cutting copperplates into the various shapes.
金煥基, 김환기 (1913-1974)
In the 1960s in the New York period, Kim Whan-Ki intensified a more universal and inner lyrical world
with basic formative elements such as dot, lines, and planes.
李禹煥, 이우환 (1936- )
Lee himself functions as an energy or medium in given spaces or situations,
searching for moments of tension and equilibrium within a certain space and time.
權鎭圭, 권진규 (1922-1973)
Kwon used distinctive mediums of terracotta and dry coating, establishing
the notion of 'Korean realism' through his figurative sculptures.