Millennium Seoul Hilton
September 15 -22, 2017
September 15, 5:00-7:00pm
Park Da Aie
Artist Notes -Scene of Musings (Lee Man soo)
1.1 Nature and humanity, and all things… All existence within the world mutually sways each other through visual and auditory perception, or through that which is called desire. Also, all things remember and reflect upon each other’s images.
1.2 Bamboo swaying in the breeze – sound, frequently changing color, flowers blooming and scattering over a village entrance or yard, a bird searching for something or a loitering dog, scattered Buddha and houses, things, and diverse human figures hovering around between all of these things…… All, while being invited guests as part of the world and existence, become objects of thought in memory. With this being so, these things reveal a private and slow side.
1.3 All of these things which appear and disappear, by way of individual existence and, at the same time, as karma’s net, mutually form an organic relationship. In this process, these things intervene by themselves and reveal the folds of life’s desires, reality and ideal.
1.4 My work is an emotional musings of the appearance of intervening daily life’s existence in the exterior world (nature and things within memory and reality), and of concealed human emotions (folds) that occur amongst these.
2.1 In the inundation of desire and information, many things have become estranged. Instant, rapid straight lines and fragments of desire are rife, and interest in curved lines and deep thought permeated in all of existence has become hazy as time goes on. With this being so, folds become deeper.
2.2 Through the relation to my childhood, while the yard is a space that opens to nature and humans, with life’s gestures that permeate the circulation of time, the yard also becomes a space for memory and disappearing visions. Someone sits here and understands the outside world, and, gazes in at their inner world. This passage way where one goes outside and comes back in, or, settles and then leaves, is something that is always presented as a new space. All classifications, that is, traces of existence, function as an unfolding and expanding significance, and so the appearance of real existence is uncovered.
2.3 All existence can privately let down life’s hardships and fruitfulness, and also let settle individual folds of desire on it’s rest place (such as a yard or forest, field etc.). While doing this, one returns back to the place that one came from, back to reality.
2.4 In addition, spontaneous folds, or folds revealed through the influence of others, while they are dug up and one tries to look into them, offer some kind of solace, and, in an effort to fill up these folds, other folds are made without hesitation. The infinite connection of these folds is an unavoidable reality of existence.
2.5 Amongst the surface of things in reality, and in every open field and yard, folds are overflowing. Also, while the world and existence is a system of folds, it is also full of folds. Therefore, while deep and shallow folds are proof of the existence of things and of all breathing life, they essentially become the face of the unlimited world. Folds themselves, or, rhythm which leaks out of the collision of layers, unfold themselves onto a flat plane.
3.1 As symbolic shapes that reflect realistic existence, human figures that appear on the picture plane exist anonymously. Through the bringing together and scattering of these various human shapes that disclose generation and social standing, aspects and temporal layers of the real world are brought to light. Also, this contrasts with a somewhat abstract foundation, and shows the two sides that are memory and reality. Our existence and world which is attained through folds, is repeatedly arranged as a compounded union and continuous connection of various circulating layers.
3.2 Almost all of the artwork’s foundation is filled up with lines and abstract strokes drawn with a broom. This process is chosen due to that which brings out an emotional response related to rhythm, sound and color. Namely, it is in order to bring out thoughts through minimal form, or to explore that which is in between. After creating grooves and filling them up, while then wiping away, this method of uncovering the previous action is something which brings out parts of faint memory and the flow of time. This whole process encompasses thoughts about civilization and the way of existence. Through the sweep, shapes in memory come out in the folds, and, these hollowed out folds become filled with the colors of reality, and then reemerge once again as folds. Scratch and paint, dig out and fill up, through this repeated process of wiping away the same amount as that which is painted, a complete plane is created, and one slides along through a transparent world….
3.3 That named world located in the small realms, is shown in between folds of countless happenings in daily life. This is the domain where a solace or an affirmation for the emptiness and dissention of this unavoidable reality has occurred.
May 13-28, 2017
May 13, 5:30-8:00 p.m.
Light and Line 빛과 선
Hyesook Park 박혜숙
Here to There, 2017
Oil on canvas, 48" x 36"
'플락시 플레이스 갤러리(Proxy Place Gallery)' 가 중견화가 박혜숙씨를 초청, 빛과 소리를 선과 색으로 표현하는 독특한 전시회를 연다.
13일부터 28일까지 '빛과 선(Light and Line)'이라는 제목으로 열리는 이번 전시회에서 박혜숙씨는 선의 속도와 힘을 색조와 대비해 정신의 빛을 표현하고자 하는 새로운 시도의 작품을 선보인다.
동양화와 서양화, 미니멀리즘과 표현주의, 원시미술과 현대미술 등 여러 사조의 경계를 허물며 다양한 화법으로 작품을 제작해 온 박혜숙씨는 이번 전시를 위해 지난 2개월간 갤러리에 머물며 전시장에서 작업을 해왔다.
이번 전시회에 선보이는 작품은 팔레트에 응고된 물감으로부터 영감을 받은 팔레트화 30여점과 가야금의 소리를 시각으로 표현한 작품, 강렬한 색조의 꽃그림, 산의 연작. 대작 30점과 소품 50여점이 1만평방피트에 이르는 넓은 공간에 펼쳐진다.
서울미대 재학 중 미국으로 유학, UCLA 회화과를 졸업했으며 주로 LA를 창작활동의
중심지로 30여년간 활동해 온 박혜숙씨는 LA, 샌프란시스코, 뉴욕 등 미국은 물론,
프랑스, 중국, 타일랜드, 한국 등지에서 활발하게 전시 활동을 해왔다. 동양ㆍ서양의 감성과 화법으로 자신만의 독특한 미학을 캔버스에 담아온 박혜숙 화가는 평자들로부터 '열정의 작가'로 불린다. 삶의 스토리를 과감한 붓놀림으로 캔버스에 녹여 온 그의 창작 작업 자체가 열정적일 뿐 아니라 작품 속에서 우러나오는 인생사의 면면이 뜨거운 느낌의 패션으로 전해진다는 평이다.