Between Inside and Outside- a philosophy

14 05 2012

Here is a text to help understand the exhibition and the philosophy behind it.

In 1920, two young girls living with a wolf were found in a small village in India. It is known that the two girls who lived like wild animals in the jungle, thoroughly isolated from society, acted like beasts. They were eventually saved and given rudimentary education to adapt to the new environment. But, it was not easy to make them members of the community. One of the girls died shortly after she was discovered, and the other girl mysteriously died after nine years without reason. It is presumed some determinant elements formed in their subconscious while living with the wolf were a grave burden that clashed with civilized reality.

Most people facing a new environment try to compromise with the reality to adapt themselves to the new and unfamiliar. If one tries to keep their inner self, they will be confined on an isolated island. Mowgli syndrome is a term applied to those who depart from reality and lose their identity, becoming trapped between the worlds of humanity and animal. Feeling uneasy in a community, they try to hide themselves or commit incomprehensible acts. Only a few people suffer from this syndrome, but those who do suffer greatly. People usually distinguish familiar scenes from the unreal by building a high wall between the conscious and unconscious. Those who cannot distinguish the two worlds are diagnosed and cured. I consider myself an agent healing, and try to look for proper treatments.

The first treatment is to stimulate a monolog. Utterances made, following the stream of thought, account for each symptom as it is. Narratives from the inside and outside are naturally linked like putting together a puzzle. The second treatment is a walk. After walking along a mountain path, I enter a deep forest unconsciously. As my trail disappears in the shadows cast by densely growing trees and fragmented skies, I recognize where I am. My directionless walking leads me to an ideal place in my subconscious. The last treatment is balance. A struggle to maintain a balance between two different drives generates afterimages. An ideal state is when the conscious and the subconscious are in a balance. If one is lopsided, one will deny themselves due to a sense of psychological emptiness. The subconscious has to hide under the conscious, and the conscious has to accompany the shadow of the subconscious. When I am awake, I agonize in the boundaries of the two worlds, simultaneously creating dreams. The interior and exterior of the conscious become blurred when numerous images are linked. I intend to capture images evoked from the observation of myself.

The first treatment is to stimulate a monolog. Utterances made, following the stream of thought, account for each symptom as it is. Narratives from the inside and outside are naturally linked like putting together a puzzle. The second treatment is a walk. After walking along a mountain path, I enter a deep forest unconsciously.

As my trail disappears in the shadows cast by densely growing trees and fragmented skies, I recognize where I am. My directionless walking leads me to an ideal place in my subconscious. The last treatment is balance. A struggle to maintain a balance between two different drives generates afterimages. An ideal state is when the conscious and the subconscious are in a balance. If one is lopsided, one will deny themselves due to a sense of psychological emptiness. The subconscious has to hide under the conscious, and the conscious has to accompany the shadow of the subconscious. When I am awake, I agonize in the boundaries of the two worlds, simultaneously creating dreams. The interior and exterior of the conscious become blurred when numerous images are linked. I intend to capture images evoked from the observation of myself.

I sometimes look into a mirror to confirm the effect of treatment. But, the black mirror reflecting nothing tries to swallow me like an unfathomable cave. I experiment with other remedies, and record the results. I am trying to cure a terminal illness. Like a protagonist in a film, I am probably confined to the imaginary environment I have designed and become more seriously sick, denying reality.

 

Mowgli syndrome is a term used by Wendy Doniger O’Flaherty in her 1995 book Other Peoples’ Myths: The Cave of Echoes to describe mythological figures who succeed in bridging the animal and human worlds to become one with nature, a human animal, only to become trapped between the two worlds, not completely animal yet not entirely human. – From Wikipedia, the free encyclopedia





« Neon Plants, Night Lights and Travel to the Galaxy » opening reception

30 05 2011

Oriental VisArt proudly presented our current exhibition, « Neon Plants, Night Lights and Travel to the Galaxy », on 24 May 2011 at Nest Gallery in Geneva, Switzerland. This is the first solo exhibition of Korean Artist Hyungji Park in Switzerland.

Hyungji Park was in attendance for this vernissage. Guests were treated to her works on a beautiful, summery Geneva evening. All the guests had the opportunity to speak with Park, asking all sorts of questions and getting to know this talented Artist personally. « Neon Plants, Night Lights and Travel to the Galaxy » continues until Sun 5 June 2011. Thank you to all who came to the vernissage, and if you haven’t had the opportunity to stop by already, we look forward to seeing you soon!

Please enjoy some images from the vernissage.

Display view 1

Display

Display view 2

Display

Display view 3

Display

Vernissage view 1

Vernissage

Vernissage

Vernissage

Vernissage

Vernissage

Vernissage

Vernissage

Vernissage

Vernissage

Artist Hyungji Park and organiser Kayla Hye K. Yang

Artist Hyungji Park and organiser Kayla Hye K. Yang





Indian Artist Shashi Kanak

22 04 2011

Indian Artist Kanak Shashi was born in 1980 in Indore, India. Today, she is currently living and working in New Delhi, India where she specialises in Mixed Media and Painting. In 2002 she earned a B.F.A. from Faculty of Fine Arts Maharaja Sayajirao University of Baroda in Vadodara, Gujarat, India. In 2004 Kanak earned an M.F.A. from the same institution. Her works have been featured in group exhibitions in India:

Group Exhibitions

2010

Drifters, Gallery Beyond, Mumbai, India

2009

Drifters, Art Konsult, New Delhi, India

Multitudes, Zen Art Studio, Cochin, India

Multitudes, Max Muller Bhawan, Bangalore, India

2006

PACHIMARI, Camp I & II, Lanxess ABS, Vadodara, India

She says,

“It is always difficult for me to speak or write about my work in words. I would rather love that my work speaks for itself. But if given a choice to express, I would say I love painting women and I celebrate womanhood through my paintings. I feel that with this, I am defining or evolving my own womanhood. My painting works at different levels – one very personal, the other very pictorial and painterly.

Since socially, I have not lived my life as a woman for almost 26 years, now that I am in my true body I feel completely at home, and each new experience and feeling makes me celebrate my womanhood. Perhaps being placed in a wrong body has inspired me to think and explore the woman image beyond the conventional horizons.

There is no fixed definition of ‘woman’ or ‘womanhood’, yet somewhere we all define it for ourselves… And that is what I am doing – living life through painting…

While painting ‘woman’, the most painted subject in human history, one realizes that most of these images celebrate the female figure as an object of desire for men. In fact, the stereotypes are so predominant that many a time, even female painters tend to represent woman through the male gaze. That’s why one of my intentions is to crack this mould of the pretty, submissive, persona-less image of women, in which each move and gesture of theirs is controlled in such a way that they come out as a mere sex object.

I choose a language which is very close to illustration, and I think representing woman in contrast light – a known and accepted language is a better choice. When I look out for references I find the work of Paula Rego, the Portuguese painter, very unusual. In there lies a very simple story telling technique to reach out to the viewer; but more than that – we both share similar subject matter and concern. I feel awed by her mastery in dealing with woman as a subject in her painting and illustrations.

My other favourite works are those of Elain De Kooning and Cindy Sherman.

I always wanted to paint my female figures strong, powerful and independent. To achieve these characters I used various pictorial elements, like lighting, use of bold strokes and distortion of certain parts of body, and putting less emphasis on others. While working on figures, I try to find and focus on the area where I feel lies the most strength and also the maximum vulnerability. Figures in my work generally take up most of the picture plane and vary from life-size to larger.

More importantly, my effort is always towards capturing a frozen moment, which I can see as an inner existential state coming through. I try capturing different states of female mind, mood and try to emphasize on distinct elements of their character. I let the facial expression, composition, color and other pictorial elements convey to the viewer, the mood I intended to portray/capture.

In my earlier paintings, I gave all the importance only to the main figure, and kept the background silent. Now I have started introducing new elements into the painting – origami birds, cats, plants and movement in the background. Even friends and people have started to come in now, which gives me more challenge to keep my stands firm, in context of seeing woman in a frame shared with man. Also, placing man and woman together in the frame brings up interesting interaction and conflicts.

It is very interesting to work on such paintings where one wants to give equal importance to both the figures; but to make this balance one could end up with too many new elements in the painting. That is why, in my painting process, it is very important for me that I conceive the figures and their position in the beginning, while the rest is achieved during the process. This approach is not only a lot of fun because of the element of dynamicity involved, but it also leaves me with the ability to surprise my own self!”

Please enjoy the work images of Kanak Shashi!

"Silent Argument", acrylic on canvas, 3 x 4 feet, 2009

"Silent Argument", acrylic on canvas, 3 x 4 feet, 2009

"Altering Histories", acrylic on digital print, 2 x 3 feet, 2009

"Altering Histories", acrylic on digital print, 2 x 3 feet, 2009

"God Mother", acrylic on canvas, 3 x 4 feet, 2007

"God Mother", acrylic on canvas, 3 x 4 feet, 2007

"Altering Histories 4", acrylic on digital print, 2 x 3 feet, 2009

"Altering Histories 4", acrylic on digital print, 2 x 3 feet, 2009





Korean Artist Jin Han Lee

14 02 2011

Jin Han Lee was born in Seoul, Korea in 1982 and is currently living and working in London, UK. In 2006 she earned her B.F.A. in Painting at Hongik University in Seoul. In 2008, she earned an M.A. in Fine Art from Central Saint Martin’s in London. Jin Han is currently working towards her M.F.A. in Fine Art at Goldsmiths in London. Her works have been featured in exhibitions the world over, including:

Solo Exhibition
2009 Beyond and Within Gallery Muse at 269, London
Project
2009 Diaolgue Box: Beyond And Within AirSpace Gallery, Stroke on Trent
Selected Group Exhibitions
2010 Future’s Future’s Future 

Korean Cultural Centre UK, London
Deptford X Special The Core Gallery, London
2010 Guasch Coranty Painting Prize Center of Art Tecla Sala, Barcelona, Spain
2010 Open Painting Royal West England Academy, Bristol
4482: Korean Contemporary Artists in London Barge House, OXO Tower Wharf, London
Project Space: Print Now London Art Fair, Design Centre, London; Bearspace, London
2009 Raymond Gun: Platfrom Degreeart.com Gallery, London
Gathering Storm Bayfield Hall, Norfolk

She says,

An easy explanation of my current paintings is the awkward and strange relationship between layers created by using masking tape.  I create edged patterns, gradation, and big brushstrokes. I want to disorientate the viewer through the various techniques employed in my paintings, the dynamic created through use of spontaneous and  planned actions within each work reinforcing this state.  Tension and spontaneity are repeated between images and layers.  By using “masking,” I am producing something that is not a picture in a picture.  My method is to paint over the masking tape then remove the tape so that the act of masking is an act of drawing.  The act of painting is not simply just placing colour onto the canvas but also the removal of the masking tape which cuts through the colour.

Using masking tape allows me the chance to focus on each image, as to show the image, I have to block the image.  There is a disjointed space within the image, between what is seen before and after the masking tape is removed, by cutting the tape I expose the core.

Unexpected tension and spontaneity is created by the ambiguity of the process and the accumulations of the layers of paint do not immediately reveal their chronological order. My paintings span the past to the present.  This is not the past but ‘a’ past, ‘a’ past representing ‘the’ present.  Although my private activities across the surface of the painting are open to public view through the traces of my process and activity, the audience is left unaware of what is the background and what is the image.  This exposure of my intimate activities reinforces an intimacy; it is back to front, beyond to within.  Here, I want the viewers to see notions, past and present, inside and outside, viewer and artist, and all these are disrupted repeatedly through layers.  Within a single glance, the viewers can imagine the history and layers behind the surface and feel the artist’s movement of the brush strokes.

Please enjoy Jin Han Lee’s work images!

"A Subtle Relocation", acrylic and masking tape on canvas, 90 x 90 cm, 2009

"A Subtle Relocation", acrylic and masking tape on canvas, 90 x 90 cm, 2009

"Untitled", acrylic, gouache and masking tape on paper, 35 x 35 cm, 2009

"Untitled", acrylic, gouache and masking tape on paper, 35 x 35 cm, 2009

"Arranging Flowers", acrylic, gouache, ink, paper and masking tape on paper, 35 x 35 cm, 2010

"Arranging Flowers", acrylic, gouache, ink, paper and masking tape on paper, 35 x 35 cm, 2010

"Golden Storm (Oh!)", acrylic on canvas, 20 x 20 cm, 2010

"Golden Storm (Oh!)", acrylic on canvas, 20 x 20 cm, 2010





Indian Artist ‘Dhaneshwar Shah’

16 05 2010

Dhaneshwar Shah was born in 1979, in New Delhi, India. He completed his M.F.A. and B.F.A. at the College of Art, New Delhi. He was given an award from UNESCO, ‘Art Award for Italy’ in 2008, ‘National award for Painting, India’ in 2006, ‘M. F. Husain Award’ , India in 2005, and ‘AIFACS’ , India in 2005.

Animals have occupied a very permanent place in his canvases for a long time. Like old Christian paintings, he has shown Ox and Donkey as a part of his narrative. In old Hindu paintings, sculptures and murals, Lord Vishnu represents the aspect of Matsyavatara and Kurmavatara to symbolise various incarnations. A painting never speaks very directly and it contains lots of hidden layers installed by the Artist from his perceptions past or present.

Dhaneshwar Shah says

“In my paintings, you can easily discover the small visual elements from my surroundings. I am physically attached to them. These elements are witnesses of the moment and place; they often step into my painting subconsciously and spontaneously.

I forgot the first time when I drew and painted an animal form but I am sure about those forms in my childhood doodles, done on walls, buried deep in various whitewash layers, they might be still there and breathing, I guess.

I remember in study classes in my college days, the human model used to pose like a dead man unlike the birds on windows which were more inspiring and alive. I started to study those bird forms; they had a feeling of motion. They were more spontaneous and energetic”.

Enjoy his work images!!

‘Tree-green’, acrylic on canvas, 60″ x 48″

‘Deer with red’, acrylic on canvas, 60″ x 48″








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