The Canvas that has become an Object -by Kho Chung-Hwan, Art critic.

Externally, the artwork of Heo Wook is rather closer to formal aesthetics than content aesthetics. As noticed, the formal aesthetics is the outcome of the modernism description that seeks genre characteristics and searches artistic characteristics from the other formal elements that enables the sense of Art. In this sense, the Artist’s work is connected to the modernism description as it derives such formalistic restoration. Meanwhile, it tries to transcend the modernism description by harmonising the trends of painting and sculpture, plan and solid and even architectural structure and installation.Likewise, a sort of the comprehensive understanding on modernism description is being discovered as the modernism description is secured while searching a potential for its break through or as it embraces positive and negative aspects of the modernism description simultaneously while seeking a possibility of its transformation and expansion. Maybe, it is the representation that is expressed with physical formation on top of the Habermas’ message that declared the imperfection of the modernism design or the Hegel’s message on ‘the cunning of reason.’ In other words, it is to embrace the positive aspect on reason (Pure form) as well as it negative aspect as a part of the modernism design. The work of Heo, Wook is supported by the dualistic attitude on the modernism description. Distinctive sense of tension is generated from the coexistence of formalistic restoration and expansion and the acquisition of simultaneity through the collected and disoriented unit structure or unit element.

The most distinctive characteristic of Heo Wook can be found from his attitude to deal with a canvas. For him, a canvas is no longer a supporter or a supplementary means to draw a certain image. Through a serious of process to release and reorganize the general idea on a canvas, the sustainable sense of existence for a canvas is returned. In other words, the collection of every single canvas, which is already independent, re-presents a united whole screen. To realise this, the Artist draws several patterns in form through his own unique style and creates a canvas according to the patterns. After creating the frames of a palm-sized circle or semicircle and a form that reminds us of a piece of puzzle, the frames are covered with pieces of fabric one by one to create big and small-sized atypical canvases. Finally, those small canvases are combined like mosaic to construct one grand art piece. On the final screen constructed through such process, the piled big and small frames create dimensional effect (Strictly speaking, it is an embossed sculpture) while the harmony created through the abstract expression of colored sides or patterns (Repeated strip-pattern in general) evokes rhythmical internal echo.

In terms of the Artist approach on a canvas that reorganises the standardised structure and frame of a canvas by releasing those elements, such attempt is connected to <Support- Surface> (Supporting frame – Supporting body) that considers a canvas itself as an independent object. As noticed, <Support- Surface> releases a canvas from the supplementary devices of the representation art (Harmonisation of entire representation that is expressed in realistic, non-realistic, conceptual, and abstract ways) to allow its role as an independent object. Such attitude was even evaluated later as the opening of a new field in the Modern Arts.

In addition, the work of Heo Wook repeatedly piles and lines up a unit element as a module. For such approach, several basic models are selected and eventually, those selected models are reorganised in typical or atypical patterns by being repeatedly piled. It has basic models, but not all of them from the basic ones to repeatedly re-produced ones are the same. Actually, the models that seem identical in size and shape from the external look are manually produced one by one, thus, they have slightly different shapes. Likewise, the work of the Artist that involves repeated piling of the minimum models as a unit element seems to be driven by the recognition on the organic relationship between the glimpse and entire look (Understanding on the world work) of the artwork. But actually, there lies a function called ‘Practical Logic of Repetition (The logic of difference)’ that implies a certain level of difference (Or an aspect that creates difference).

Like the process of an object production, such logic of difference is especially maximised from encouraging the participants’ participation. There are of course exceptions but in general, the work allows participants’ voluntary and arbitrary re-organisation of those models as if playing LEGO through the attached magnets at the rear side of the object. Moreover, it is possible to attach the model on the wall besides the frame that the Artist has divided. Eventually, the initial organisation suggested by the Artist gets re-organised by the participants and intervention of the participants and furthermore, the boundary that is set as a frame loses its meaning. Such fact indicates that the work of the Artist is driven by non-decisive logic rather than decisive one and tenant logic rather than final one, so to speak in present progressive tense. Therefore, it means the inclination of an open structure that allows revision and edition at any time. Moreover, the possibility to expand the scope of artistic expression that endlessly and actually occupies the space is even opened.

Such open structure or non-decisive nature is also supported by the theme <Filling the gap> that has been deepened constantly by the Artist. Like the theme that implies the process of continuous piling and addition of a form or meaning, the work of Heo Wook becomes the ‘present progressive’ not ‘present perfect,’ and the critical means that enables such nature is based on the participation of participants. Therefore, the facts that creates an identity at an arbitrary point or acknowledges participants’ involvement and intervention help us read the merit and capacity of the Artist’s work.

Thus, the work of the Artist illustrates the unique point that is not classified in the existing plane or dimensional perspectives. In other words, the Artist reorganises the entire artwork to be a square frame in general by piling the models produced in the minimum unit. Such reorganised-screen is a plane overall but when seeing it from the sides, it transcends the plane boundary of the screen through the projected artwork above the plane frame work. It is to overcoming both plane and dimensional aspects while not being belonged to any of those. To be specific, it is so-to-speak located on the verge of the boundary between the plane and dimensional aspect. Meanwhile, the understanding on a transformed canvas is discovered on the other hand, and such nature is connected to the attitude that acknowledges self-sustaining existence of a canvas.

Likewise, the work of the Artist is supported by the formatted and patternised trends as the work is based on the repeated re-organization of the minimum unit element. And simultaneously, the trends are restrained and controlled by another chance that disorients the patterns. The mobility to direct and disorient patterns confronts while static change and mobile echo are permeated. Also, the two confronting changes of restoration (the power applied by centripetal force) and expansion (the power applied by centrifugal force) creates distinctive sense of tension as they are soaked into each other.

On the other hands, the work of the Artist stresses formative aspect externally while embracing the nature of the contents. In short, every single grouping model that consists of the entire screen is working as a potential chance to create a relationship. The creation of the entire screen by the gathered models is supported by the process of relationship formation, and such fact implies the process of creating a new relationship through the gathered anonymous subjects. The creation of a new relationship realised by encouraging the participants’ experience seems to be a part of the Artist’s grand design of his work.

Above Second is proud to present Obfuscating Stupidity (aka Playing Dumb), a new series of digital paintings by Sonya Fu, the Hong Kong based artist for her second solo exhibition at the gallery.

In this show, Fu illustrates delicate looking figures portraying childlike characteristics in dream-inspired spaces. Unlike her previous work, Fu shakes off her solemnness and takes a brighter approach to observe and contemplate social unjust and humanity in a more playful and sarcastic manner. Fu’s creation of surreal composition and frolicsome characters make a prominent contrast against the realistic social issues, piercing the viewer’s mind with the paradoxical wisdom of feigning stupidity.

Sonya Fu is a Hong Kong based artist and designer. She has recently been endorsed by Semi Permanent www.semipermanent.com as a new and notable artist of Hong Kong and awarded by Perspective Magazine as one of the ‘40 creative talent under the age of 40’ in Asia.  Fu has participated in many local and international art exhibitions. Her chosen medium is digital painting which encompasses an intricate and unique process. Fu’s work is inspired by dreams, music and the human condition filling her work with subtle messages leaving the viewer to develop their own interpretation. Sonya quotes “My art can be disturbing to the audience, but this is my interpretation of life and the perspective of the many aspects of my everyday encounters. If my work manages to scare, sadden, excite or inspire people, then I am doing the right thing as an artist – creating and conveying emotion.”

Oriental VisArt is pleased to present “Between Tiers”, the first London exhibition for both Korean artist Wook Heo and Oriental VisArt.

The solo exhibition will be open from January 25th to February 9th  2012 with a private reception with the artist 27th January, from 6 to 9pm.

Between Tiers is Heo’s extension from a series of work  featured at The Space Between, a group exhibition presented in March 2011 in Geneva. The emerging artist expands his subject matter including not only fragmented cars, interiors and material related to consumerism, but highly eroticised imagery of men and women.  His nudes, however, are rendered as object of desire similar to the consumer goods depicted among the works.  The exhibition deals with contemporary convergence and divergence of culture, a theme which does not come as a surprise from the Korean artist trained in Paris.

Heo reintroduces the technique of disassembled painted media, which is reconvened to create unique works that are neither paintings nor reliefs. The meaning of the subject matter is altered in the reassembling process to form a multi-layered colour block kaleidoscopic vision.

Born in Seoul in 1973, Heo completed his studies in at the prestigious Ecole des Beaux-Arts in Paris, specialising in painting, drawing, architecture and multi-media in 1998. From 2001, he featured in numerous groups and solo exhibitions in Korea, but 2011 was his breakthrough in the European art scene with the group exhibition presented by Oriental VisArt. This solo London exhibition is a first for Wook Heo, who has previously featured in our Artist of the month February 2011 blog.

It is our pleasure to present you this event among London’s cosmopolitan stage.

This year’s Art Basel not only broke records in terms of attendance, but in terms of expectations from majority of the exhibitors. Expectations of the vast majority of exhibitors were far exceeded with the event. Most were pleased to report great contacts and sales had been made to benefit the future of their programmes.

Art Basel is broken down into a different divisions, specialising in different types of works from different Artists. Art Unlimited featured 62 different works, some created specifically for Art Basel. Art Statements featured 27 young Artists from across the globe and Art Parcours, where specific works and performances were held was also a major draw.

Oriental VisArt spent the week in Basel taking in the sites and sounds of this fabulous event. Below are pictures of the great experience. Please enjoy, and hope to see you there next year!

Art Parcours 'Ai Weiwei'

Gabriel Orozco, 'Fly stamp collection', chromogenic print, 16 x 20 inches, 2010

Art Unlimited

Galeria Continua

Jaume Plensa, 'The three graces', painted stainless steel, three parts, 203 x 137 x 134cm, Galerie Lelong

Kohei Nawa, 'Polygon-Double-Deer 2', mixed media, 159.3 x 80.3 x 63.2cm, 2011, SCAI the Bath House

Main hall view

Main hall view

Marijke van Warmerdam, 'Up-convolution', acrylic paint, ink jet print on canvas, 2009, Annet Gelink Gallery

Ron Mueck, 'Youth', silicone, polyurethane, steel, synthetic hair, fabric, 107 x 40 x 40cm, 2009, Hause & Wirth

Scope Basel view

Scope Basel view, Kashay Hildebrand Gallery

Sooja Kim, 'To breathe-A mirrow woman', duraclear photographic print in light box, 119 x 89 x 10cm, 2006-2008

Team Gallery

U Ram Choe, 'Winged Tree of God', metalic material, machinery, electronic devices, 79 x 112 x 46cm, 2011, SCAI the Bath House

White Cube

Zhang Ding, 'Next', installation, 300 x 280 x 260cm, 2010, ShangArt

The event featured wine tasting « Château de Chaintres » Saumur-Champigny AOC, wines from the region Châteaux de la Loire. Guests were treated to these wines while enjoying the works of Hyungji Park, as the event takes place at Nest Gallery in Geneva, Switzerland, during Oriental VisArt’s exhibition « Neon Plants, Night Lights and Travel to the Galaxy ».

The wine tasting menu featured five, crisp summer wines:

• Two whites:
• a Burgundy, the “Mâcon Chardonnay” 2009 de Benjamin et Mallory Talmard
• a Bordeaux, the “Blanc Sec” 2009 de Château Parenchère
• One rosé :
• the Bordeaux « Clairet » 2009 de Château Parenchère
• And two reds :
• a Chianti 2009 : the « Titolato Strozzi » produced in San Gimignano by the Prince Strozzi
• a Saumur Champigny : the “Château Chaintres » produced by in the Loire Castles region by Comte Gaël de Tigny

Photos of the event:

Summery wine selection

Sponsors from La Magie des Vins

Sponsors and organiser Kayla Hye K. Yang

Guests

Showroom view

Guests and our organiser

Guests and the work of Hyungji Park

Showroom view

Wine night

Fen Weng describes her artistic philosophy:

Every morning I walk to work along the same boring road. Day after day I repeat the same actions. Sometimes I leave Haikou to go to Guangzhou, Beijing or some other place, but after I step out of the airport or railway station I feel as though I am still in Haikou. The buildings that line the streets seem to be the same kind of modern buildings, with the same mosaic tile or brick wall facing, the same architectural styles. Even the sky seems to be the same shade of blue.

Just that same morning I had still been sitting at home; now it is afternoon and I am already in Beijing or Shanghai. If I take a flight from China to America today, and spend 24 hours travelling, when I arrive in America it will still be today, departure and arrival seem to be the same time. These many similarities and repetitions make me think that reality must be false, that sensory perceptions are ambiguous.

Faced with this 2-dimensional kind of life, an utopian dreamland for the common people, I can only make subjective conjectures – it is like an empty, insubstantial body or ornament, and I have no way of freeing myself. It seems that it is because of reality that I am searching for this kind of fabricated sensation, reality – that you cannot possibly resist, that you cannot ever go back to.

Please enjoy some work images!

"Sitting on the Fence"

"Watching the Lake"

"Sitting on the Fence"

"Watching the Sea"

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

Display

Display

Vernissage

Vernissage

Vernissage

Vernissage

Vernissage

Artist Hyungji Park and organiser Kayla Hye K. Yang

For more information on this exhibition, you can check out our newly-added exhibitions page. This page hosts information about the exhibition, the Artists, and more. Here you can find details about upcoming shows as well as information on our past exhibitions.

Again, we look forward to seeing you on 24 May 2011 for the vernissage for our 5th exhibition featuring Hyungji Park.

« Neon Plants, Night Lights and Travel to the Galaxy » features the work of Korean Artist Hyungji Kim for her first solo exhibition in Switzerland.

Splashed, splattered, sprayed, spread, swept. Blotted, dripped, layered, mixed, pared back, rubbed. For Hyungji Park the physicality of paint is as important as it is a visual medium. The artist’s interpretation of her chosen subject matter through the manipulation and application of paint is paramount.

Park takes her imagery from everyday life – drawing visual references from contemporary culture and media, the internet, art history, magazines, advertisements, and conventional motifs found in comics, graphic design and old wood cut prints. Each source is then re-appropriated through painting techniques to transform the original source into a new realisation – one that is rich in fantasy and has multiple interpretations. The artist claims to be in constant search for ways to create new and playful dialogues between the material conventions of painting and the abundance of imagery she finds around her.

In « Neon Plants, Night Lights and Travel to the Galaxy » the artist shows recent works and those from her previous series Strange  Scenery. Park creates fictitious scenes by combining collected visual references that are then dissected and recreated to form new abstracted landscapes and imagery. In her earlier works, the artist details sections with acute precision, carefully building up layers of oil paint, and then dripping watery thin consistency of medium sporadically over the works so that ultimately the result is that the viewer’s eye is drawn away from the apparent subject matter to the surface of the work and hence the structure of the painting.

More recent works are influenced by visual references taken from window displays, illuminations, objects and design. The works show evidence of a more broad experimentation with technique – paring back surfaces and detail, scraping off paint or spraying and splattering medium in order to conjure effect and experience. Park’s paintings could be said to be revelations of her mind’s processing of modern society’s visual overload of information, and her technique – her way of digesting, sorting, reflecting upon and understanding. The artworks become the connecting tissue for the thoughts and views of the artist.

Park appears interested less in the finished work than in the ‘systems’. Her works are not so much the culmination of a concept, as the product of what is unseen – her thoughts and her actions. This series denotes her advance in her practice, and her desire to have a complete experience with painting – one that involves seeing, thinking and doing.

Park earned a Bachelor of Fine ArtsArts Degrees Hongik University of Seoul, Korea in 2001, followed by her Masters in 2006 at the Korean National University of Arts in Seoul. She went on to complete an additional Masters of Fine Art at the Central Saint Martins College of Art and Design in London in 2008. Park currently lives and works in London.

Sascha Gianella
May, 2011

Please enjoy Hyungji Park’s work images!

Bubble Castle, Acrylic on linen, 95x130cm, 2011

Boramae Park, Acrylic on linen, 130x145cm, 2011

Neon Plants, Acrylic on linen, 130x145cm, 2011

Hyungji Park’s first solo exhibition in Switzerland, Neon Plants, Night Lights and
Travel to the Galaxy, begins 23 May 2011 in Geneva, Switzerland. Her other exhibitions include:

She says,

“My practice brings visual references and sources from everyday surroundings, pop culture and digital images from contemporary media. The references and sources are displaced into the painting language in my practice. I approach not only painting as a visual medium but also painting as a physical medium. I am searching for ways of creating a new and playful dialogue between the material conventions of painting and the abundance of imagery I find around me.

<Neon Plants, Night Lights and Travel to the Galaxy> includes my previous series Strange Scenery and recent works. Strange Scenery creates fictitious scenes and landscapes by combining visual sources from snapshots, images from the internet, magazines, advertisement and daily remnants. They are extracted, dissected and mixed with other images, resulting in strange new scenes and landscapes. On the other hand, in more recent work, I have an interest in everyday imagery in urban life and have more focus on exploring ways of interpreting in paint, the visual grammars and atmospheres found in display windows, illuminations, objects and designs.

In both Strange Scenery and the recent work, the source images are interpreted or reinterpreted through a particular handling of the paint. They are often further transformed into abstractions that deal with on the term of the material through the process of painting. I translate the visual elements of the sources into the matter of paint and painting language, allowing the paint to reclaim these images through colors, loose brush strokes, dripping and layers of paints. The original visual information from the sources are transformed, omitted, and deformed through being interpreted into paint. They are no longer placed in their original contexts rather they are reframed as something unfamiliar, functioning only within the structure of painting.”

Please enjoy some of her work images!

Bubble Castle, Acrylic on linen, 95x130cm, 2011

Neon Plants, Acrylic on linen, 130x145cm, 2011

Boramae Park, Acrylic on linen, 130x145cm, 2011

What happened is unknown, but ... is crystal clear 1, oil on canvas, 77x102cm, 2010

What happened is unknown, but ... is crystal clear 4, oil on linen, 77x102cm, 2010