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





Chinwook Kim

7 05 2012

‘Externalisations of the Mind’
Mon 14 – Sun 27 May 2012

Oriental VisArt is pleased to present Korean artist Chinwook Kim’s first solo exhibition in Switzerland, and Oriental VisArt’s 7th exhibition.

At first glance Chinwook Kim’s works appear as semi-abstract landscapes filled with life and nature. Works that are soft in palette and intricate with organic forms, reminiscent of detailed Japanese woodblock prints in which the figures inhabit a narrow foreground space and are defined only by simple ink outlines filled with flat areas of colour or textile patterns.

However there is a sense of uneasiness and eeriness to the twisting forms that impose on each other, layer after layer, which reveal a far more complex and sober nature of what lies beneath and behind the tightly bound, gnarled forms. Only rarely is shading employed, and then it is confined to depictions of blurring the distinction between the detail and what appears to be black holes, spaces void of information or recall.

Kim is an accomplished draughtsman; the works are drawn with dense hatching to create tonality, yet some of the most beautiful works in the series have black spots or areas that are drowned in shading, creating a haze where detail struggles to emerge. These works tell us about the mind of the artist; the surfaces are so dense with detail that the images feel airtight and dense. Spidery calligraphic lines create organic shapes that feel as through they are in perpetual motion, while washes, drips and glimpses of colour suggest second thoughts and erasures. Over a piece of white paper his horde of creeping forms are influenced by the mastery of medium and imagination of Heironymous Bosch, or the consummate delicacy and refinement of Aubrey Beardsley.

Chinwook Kim’s works unfold as his conscious and subconscious state of mind does. His works are the externalisations of his mind.

Born in 1972 in Korea, Chimwook Kim undertook his undergraduate Bachelor of Fine Arts in Seoul, before relocating to Europe and completing a second Bachelor of Fine Arts followed by his Masters in Germany, then after relocating to the UK he completed a further Masters of Fine Arts. His works have featured in numerous group exhibitions in the UK and Switzerland.





Oriental VisArt 1st Group Show- Opening Reception

4 10 2010

The oepning reception was on Wed 29 September 2010, at La Cave in Old Town, Geneva, Switzerland. The curator/sculptor Gunwoo Shin and Artist Juyoung Park were present to talk with the guests. There were many different groups of people- different nationalities, age groups and people in different fields. I would like to share the atmosphere of the evening with you!

Left: ‘Sculpture’, by Gunwoo Shin, Right: ‘Park Cemetery’, by Juyoung Park

 

‘La Cave’ in Old Town, Geneva

 

‘Skin of Trees’, by Parasuranman Saravanan

 

‘La Cave’ in Old Town, Geneva, Switzerland

 

‘Untitled’, by Parasuranman Saravanan

 

‘Empty Hands’, by Gunwoo Shin

 

Guest

 

Guests

 

Guests

 

Listening to the Curator/Sculptor Gunwoo Shin

 

Gunwoo Shin with the Korean Ambassador, his wife and the 1st Secretary in Geneva

 

Guests

 

Guests talking with the Artist and Organiser

 

Guests

 

Left: Curator/Sculptor Gunwoo Shin, Right: Artist Juyoung Park

 

Left: Artist Juyoung Park, Middle: Organiser Kayla Hye K. Yang, Right: guest

 

Guests

 

Guests

 

Guests

 

Our good friend ‘Antoine’ at the bar

 

Listening to the Artist ‘Juyoung Park’

 





Oriental VisArt 1st Group Exhibition in Geneva

25 09 2010

Threshold to everyday-life

Oriental VisArt presents ‘Threshold to everyday-life’, the 1st group exhibition in Geneva, which includes 5 Asian Artists, who are now working across Europe and Asia. This exhibition is curated by Gunwoo Shin.

In my opinion, one of the most frequent discourses in the art world since the 1990s has been the notion of the ‘everyday-life’. Artists are fed up with the boundlessly expanding notions of art and its bulky discourses. They have sought to discover their own values and have tried to capture and represent this theme of the everyday. At this moment, there is no doubt that the domain of contemporary art has expanded from the ambiguous and abstract to the specific and concrete. The world each of us knows consists of everyday incidents and specific happenings, repeated over and over again.

The exhibition ‘Threshold to everyday-life’ brings together five international Artists. Each Artist presents and manifests how everyday-life can influence them and the world through their works with diverse cultural perspectives. All the work, exhibited in this show, might open new avenues to the question: “what is real everyday life and what exist beyond it?

By Gunwoo Shin

Chinwook Kim attempts an expansion to another unfamiliar space in ever-changing daily life. He inserts an image he discovered in a familiar place in another space, randomly, and endeavours an attempt to excavate another aspect buried between image and image, space and space, through new assumptions and suppositions.

Gunwoo Shin’s work portrays mental landscapes on the crossroad between the conscious and the unconscious, through relief style painting. He freely moves beyond the lines of reality and the world of the surreal, giving diverse artistic imaginations to realistic subject matter.

Ju young Park focuses on ‘movement’ in her painting with fast strokes. She starts with moving her brush very quick and tries to capture her gestures. After that the Artist develops spontaneous brush work into a more objective language. Her paintings look quiet and tranquil. However, you can feel a kind of ‘tremble (moment)’ even in the static image on a plane surface.

Kumeresan Selvaraj experiments with new spaces and materials using untouched marginal areas of medium in his work such as a blank space of photography or an outer space of existing objects. His perception of self-existence is the key source for understanding his works. He transforms his perceptions into works of art through confusion, analysis and references.

Saravanan Parasuraman‘s works are based on his intelligence that he acquired from his self-existence. He has been influenced by the world of nature. He uses ordinary objects such as an old palm tree, steel balls and clay in his work. He is interested in capturing traces of which every element has reacted to the world.

The opening reception is on Wednesday 29th September from 6pm to 10pm. The Curator Gunwoo Shin and one of the Artists Juyoung Park will be present. Hope to see you there. I will attach the invitation and Artists’ information. Thanks a lot!

Artist

‘Skin of Trees’, Fibreglass & Silverstone, 49×96 inches (inc frame), 48×18 inch each panel, 2010

 

Kumaresan Selvaraj, Orpin, Fibreglass, 91.4 x 91.4cm, 2010

 

 

Inside and outside of landscape-4, Chinese ink on canvas, 152 x 122 cm,  2009

 

 

‘Toto’, watercolor on paper, 78.5 x 57 cm, 2009

 

 

‘Untitled’, Acrylic on resin on wooden board, 100 x 125 x 20cm, 2010





Korean Artist ‘Chinwook Kim’

9 06 2010

Chinwook Kim was born in 1972, Eumsung, Korea. He is currently doing  a M.F.A. in Painting at Slade School of Fine Art, UCL, London UK and he got his anothe M.F.A and a B.F.A from Stuttgart National Art School, Germany 2003 – 2006.

He inserts an image which he discovered in a familiar place in another space, randomly, and endeavor an attempt to excavate another aspect buried between image and image, space and space, through new assumptions and suppositions. This is much like an attempt to create another world by drawing out another reality under the surface of reality, and by presenting another passageway in reality made up of similar landscapes. This awkward scene seems like an unfamiliar bridge linking reality and unreality, but alters to a familiar appearance through a repetition of discovery and excavation. He says,

“The images, made through direct or indirect experience, appear through a process of deformation, repetition, combination, and abbreviation. These images return to their original appearance in a two-dimensional or three-dimensional space, or are modified into degraded unfamiliar appearances. The expansion and distortion of artificial thinking spreads to an unpredictable sphere, disregarding the distinction of space and things. The objects associated with one another, through unconscious assumptions and suppositions, represent an innerscape, through coarse, simplified hieroglyphs, as clues to another world, likely to be somewhere between the conscious and unconscious”.

Enjoy his work images!

‘The surface’, charcoal, acrylic on canvas, 100 x 200cm, 2009

‘Inside and outside of landscape-3′, Chinese ink on paper, 195 x 122cm, 2009

‘A man on the scales’- front, mixed media, 95 x 32 x 30cm, 2009

‘A man on the scales’- side, mixed media, 95 x 32 x 30cm, 2009

‘The value of isolated island’, mixed media, 130 x 60 x 50cm, 2010








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