23. 07. 01 - 07. 23 ㅣINDIPRESS
CONTENTS
<The joy of seeing the 'happiness circuit'>
Cho's work can be summarized in the following words: color surface abstraction, flatness, and modernist painting. The artist has been working within these categories for a long time, so most people have a general impression of his work. There are no major changes, only small variations in form or color composition, or the so-called old fashioned modernist color surface abstract painting. However, the artist does not seem to pay attention to these evaluations and impressions. Perhaps he is not bothered by the fact that his work is placed in the category of color abstraction or modernist painting. It is very natural to see the artist's work within this category of objectification. It took me a lot of time and observation to find the "change" in the artist's new works.
The clues given are still the conditions and categories I listed. But the writer tells a different story. He tells a different story, one that ignores the conditions and categories. The writer's behavior is clearly legitimate, but I can't help but feel puzzled. The writer talked about change and the 'attempts' to change it. As I listened carefully, the artist and the work began to become one, and the consistency began to seem legitimate. The changes that have been attempted since 2021 are like musical variations, producing diversity within their own axioms.
The biggest new change is the introduction of curved surfaces in this series. These surfaces are not just curves created by the artist's subjective impulses. The artist's studio is an old house with a small garden. He spends almost all of his time there, so his perspective doesn't deviate much from the space in his daily life. He began to borrow shapes from the almost unnoticed features of his space, such as the curves he created to decorate the staircase railing. The appearance of these curved surfaces and the change of colors give the impression of an abstract bastardization of the artist's living environment.
The illogical use of the term abstract bastardization will be understood if one witnesses the accumulation of time and almost repetitive actions that the artist has spent working in his studio environment for a long time. The artist draws happiness circuits on the canvas by becoming one with her sparse studio, her garden, and the many everyday objects that accompany her. Her emphasis on "happiness" in her work and exhibition theme seemed a bit clichéd at first, but now, observing her work, I feel a real "craftsman" or "master" like force in her work of drawing happiness circuits.
I am looking forward to these variations and to the artist's continued sensitivity and imagination. (Kim Youngjun, former curator, Busan Museum of Contemporary Art)
DATE
2023. 07. 01 - 2023. 07. 23
TIME
11:30 - 18:30
Closed on Mondays
LOCATION
31, Hyojaro-ro, Jongno-gu, Seoul, Korea
INDIPRESS
More information is available through the links below.
Go to the homepage
Article | INDIPRESS Photo | INDIPRESS
© yoohee.seochon
Unauthorized use and/or duplication of this material without express and written permission from this site’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to yoohee.seochon with appropriate and specific direction to the original content.
23. 07. 01 - 07. 23 ㅣINDIPRESS
CONTENTS
<The joy of seeing the 'happiness circuit'>
Cho's work can be summarized in the following words: color surface abstraction, flatness, and modernist painting. The artist has been working within these categories for a long time, so most people have a general impression of his work. There are no major changes, only small variations in form or color composition, or the so-called old fashioned modernist color surface abstract painting. However, the artist does not seem to pay attention to these evaluations and impressions. Perhaps he is not bothered by the fact that his work is placed in the category of color abstraction or modernist painting. It is very natural to see the artist's work within this category of objectification. It took me a lot of time and observation to find the "change" in the artist's new works.
The clues given are still the conditions and categories I listed. But the writer tells a different story. He tells a different story, one that ignores the conditions and categories. The writer's behavior is clearly legitimate, but I can't help but feel puzzled. The writer talked about change and the 'attempts' to change it. As I listened carefully, the artist and the work began to become one, and the consistency began to seem legitimate. The changes that have been attempted since 2021 are like musical variations, producing diversity within their own axioms.
The biggest new change is the introduction of curved surfaces in this series. These surfaces are not just curves created by the artist's subjective impulses. The artist's studio is an old house with a small garden. He spends almost all of his time there, so his perspective doesn't deviate much from the space in his daily life. He began to borrow shapes from the almost unnoticed features of his space, such as the curves he created to decorate the staircase railing. The appearance of these curved surfaces and the change of colors give the impression of an abstract bastardization of the artist's living environment.
The illogical use of the term abstract bastardization will be understood if one witnesses the accumulation of time and almost repetitive actions that the artist has spent working in his studio environment for a long time. The artist draws happiness circuits on the canvas by becoming one with her sparse studio, her garden, and the many everyday objects that accompany her. Her emphasis on "happiness" in her work and exhibition theme seemed a bit clichéd at first, but now, observing her work, I feel a real "craftsman" or "master" like force in her work of drawing happiness circuits.
I am looking forward to these variations and to the artist's continued sensitivity and imagination. (Kim Youngjun, former curator, Busan Museum of Contemporary Art)
DATE
2023. 07. 01 - 2023. 07. 23
TIME
11:30 - 18:30
Closed on Mondays
LOCATION
31, Hyojaro-ro, Jongno-gu, Seoul, Korea
INDIPRESS
More information is available through the links below.
Go to the homepage
Article | INDIPRESS Photo | INDIPRESS
© yoohee.seochon
Unauthorized use and/or duplication of this material without express and written permission from this site’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to yoohee.seochon with appropriate and specific direction to the original content.