+ IACO : International Art Cooperative Organization +

2024. 11. 3


Lee, Kyoung Hee ÀÌ°æÈñ-On the analogy of the merory of the Moon
ÀÌ ¸§ IACO
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Lee, Kyoung Hee

Recent Discourse of artworks

ÀÛÇ°·Ð / '´Þ¿¡ ´ëÇÑ »ý°¢'

On the analogy of 'Memory of the Moon'

120X1
120X180cm, Mixed media on lenan

ÀÛÇ°·Ð / On the analogy of memory of the moon


 From a universal humanities psychology point of view, attitudes and habits expressed from human self-consciousness also completely dominate the creative soul for self-realization to artists. In a positive way, it is the source of mental energy that creates good energy that leads to the formation process and creative way of life, while in creative thought, that irrecoverability is also a great trauma of mental chaos. Therefore, the cognitive ability of the attitude and habit of creating works acts as a basic element of mental passion that is very important to the artist.

Recently, Lee, Kyung-hee's concept of work has changed significantly visually. In particular, the period she indulged in so-called concrete paintings that she had drawn on canvas or paper with a brush was quite long. Nevertheless, through such self-denial in the early 60s, there is a big change in perception of the attitude of boldly giving up the framework of the formative sense based on the authentic painting style. It is the fact that it awakens from the simple classical aesthetics of compulsion to draw something on the canvas and shows the result of evolving new intuition and thoughts into a conceptual form as a liberation zone that contemporary people long for from their true persona. This is a short of tantamount to a bold abandonment of the materialistic thinking of modernism, which has long been obsessed and worshipped in her aesthetic consciousness.


º¸ÆíÀûÀ¸·Î Àι®½É¸®ÇÐÀû ÀνÄü°èÀÇ °üÁ¡¿¡¼­ º¸¸é Àΰ£ÀÇ ÀÚÀǽĿ¡¼­ºÎÅÍ ¹ßÇöµÇ´Â ŵµ¿Í ½À°üÀº ¿¹¼ú°¡µé¿¡°Ô ÀھƽÇÇöÀ» À§ÇÑ Ã¢ÀÇÀû ¿µÈ¥À» ¿ÏÀüÈ÷ Áö¹èÇϱ⵵ ÇÑ´Ù. ±àÁ¤ÀûÀÎ ¸é¿¡¼­ »îÀÇ Çü¼º°úÁ¤°ú âÀÛ¹æ½ÄÀ» À̲ô´Â ÁÁÀº ±â¿îÀ» ¸¸µé¾î³»´Â Á¤½ÅÀû ¿¡³ÊÁöÀÇ ±Ù¿øÀÌ µÇÁö¸¸ ¹Ý¸é¿¡, âÀÇÀû »çÀ¯¿¡ À־ ȸº¹ºÒ´ÉÀ̶õ Å« Á¤½ÅÀû È¥µ·ÀÇ Æ®¶ó¿ì¸¶°¡ µÇ±âµµ ÇÑ´Ù. µû¶ó¼­ ÀÛÇ°À» âÀÛÇÏ´Â ¾çÅÂ¿Í ½À°ü¿¡ °üÇÑ ÀÎÁö´É·ÂÀº ÀÛ°¡¿¡°Ô ¸Å¿ì Áß¿äÇÑ Á¤½ÅÀû ¿­Á¤ÀÇ ±âº» ¿ä¼Ò·Î ÀÛ¿ëÇÑ´Ù.


ÃÖ±Ù ÀÌ°æÈñÀÇ ÀÛÇ°°³³äÀº ½Ã°¢ÀûÀ¸·Î »ó´çÇÑ º¯È­¸¦ º¸ÀÌ°í ÀÖ´Ù. ƯÈ÷ ±×³à´Â ÀÛÇ°È°µ¿¿¡ ÁýÁßÀûÀ¸·Î º×À¸·Î ĵ¹ö½º³ª Á¾ÀÌ¿¡ ±×·Á¿Â ¼ÒÀ§ ±¸»óȸȭ¿¡ Ž´ÐÇÑ ±â°£ÀÌ »ó´çÈ÷ ±æ¾ú´Ù. ±×·³¿¡µµ 60´ë ÃÊ¹Ý ÀÌ·¯ÇÑ ÀÚ±âºÎÁ¤À» ÅëÇØ Á¤Åë ȸȭ¾ç½Ä¿¡ ±â¹ÝÇÏ´Â Á¶Çü°¨°¢ÀÇ Æ²À» °ú°¨ÇÏ°Ô Æ÷±âÇÏ´Â ¾çÅÂÀÇ Å« Àνĺ¯È­¸¦ º¸ÀÌ°í ÀÖ´Ù. ĵ¹ö½º¿¡ ¹«¾ùÀΰ¡¸¦ ±×·Á¾ß ÇÑ´Ù´Â °­¹ÚÀÇ ´Ü¼øÇÑ °íÀü¹ÌÇÐÀÇ °üÁ¡¿¡¼­ ±ú¾î³ª ÀÚ½ÅÀÇ ÁøÁ¤ÇÑ Æ丣¼Ò³ª·ÎºÎÅÍ Çö´ëÀÎÀÌ °¥±¸ÇÏ´Â ¿å±¸, Áï Çع汸 ¿ªÇÒ·Î½á »õ·Î¿î Á÷°ü°ú »çÀ¯¸¦ °³³äÀû ÇüÅ·ΠÁøÈ­½ÃÅ°´Â °á°ú¹°À» º¸¿©ÁÖ°í ÀÖ´Ù´Â »ç½ÇÀÌ´Ù. ÀÌ°ÍÀº ±×³àÀÇ ¹ÌÀǽĿ¡¼­ ¿À·§µ¿¾È õÂøÇÏ°í ¼þ¹èÇØ¿Â ¸ð´ø´ÏÁòÀÇ À¯¹°·ÐÀû »ç°í¸¦ °ú°¨È÷ Æ÷±âÇÑ °Í°ú ´Ù¸§¾ø´Â °ÍÀÌ´Ù.

µé·ÚÁî(Gilles Deleuze) öÇп¡¼­ »çÀ¯ÀÇ ¹«ÇÑ´ë¿¡¼­ ÃÊ·¡µÇ´Â ½ÇÇèÀû »çÀ¯ÀÇ À¯ÈñÀû º¯È­¿¡ ´ëÇÑ ³ë¸¶µðÁò(Nomadism) ¿µÅäÈ®Àå °³³äÀº ±âÁ¸ ¿µ¿ªÀ» ÃÊ¿ùÇÏ´Â »çÀ¯¸¦ ÅëÇØ ÀηùÀÇ »ýÁ¸Àû Àڹ߼º¿¡¼­ Ãâ¹ßÇÏ´Â º»´ÉÀû ÇàÀ§ÀÌ´Ù. »ýÁ¸¿ø¸®¸¦ ±âÃÊÇÑ ¹Ì¼ú»çÀû È帧µµ ¿ø½ÃÀû »çÀ¯·ÎºÎÅÍ Çö´ë¿¡ À̸£´Â Àΰ£ÀÇ »çÀ¯¿¡ ´ëÇÑ °¥¸ÁÀ¸·ÎºÎÅÍ ±âÀÎÇÑ °ÍÀÌ´Ù. ±×°£ º¸¿©ÁØ ±×³àÀÇ Æò¸éÀÛ¾÷¿¡¼­ °üÂûµÇ´Â Á¶ÇüÀû Á÷°üÀº ¸Å¿ì ¶Ù¾î³ª´Ù. ±×·³¿¡µµ öÇÐÀÚ ¡®¹Ì¼¿ ǪÄÚ¡¯´Â ¡®»çÀ¯°¡ ¾ø´Â Á÷°üÀº Ç㱸ÀÌ°í Á÷°ü¿¡ °³³äÀÌ ¾ø´Ù¸é ¸Í¸ñÀÌ´Ù.¡¯¶ó°í ¸»ÇÏ°í ÀÖ´Ù. ±×³àÀÇ °æ¿ì ¼ö ½Ê ³â°£ ÀÛ°¡»ýÈ°¿¡¼­ ÀÚ¿¬½º·´°Ô ¾ò¾îÁö´Â ÀϹÝÀûÀÎ °æÇè·Ð°ú ¼ºÂû¿¡ ´ëÇØ ±× µ¿¾È ÀÛÇ° ¼Ó¿¡ ³»ÀçÇÑ °ü½ÀÀÇ ±Ù¿øÀ» °á·ÐÀûÀ¸·Î ºÎÁ¤ÇÏ°í ÀÖÀ¸¸ç ÀÌÁ¦ ±×³àÀÇ ±íÀº ¿¡°í(ego)¿¡¼­ »õ·Î¿î ÁöÆòÀ¸·Î ÃâÇöÇÏ´Â ¿¡ÇÇÆÄ´Ï(Epiphany)ÀÇ Á÷°üÀ» »ó»óÀ̶õ µÎ³ú·ÎºÎÅÍ ¹è¼³ÇÏ°í ÀÖ´Â °ÍÀÌ´Ù.  

In the Gilles Deleuze philosophy, the concept of Nomadism territorial expansion for the playful changes in experimental thoughts arising from the infinite number of thoughts is an instinctive act that starts from the survival spontaneity of mankind through reasons that transcend the existing domain. The flow of art history based on the principle of survival is also due to the longing for human thinking from primitive thinking to modern times. Her formative intuition is very outstanding in her artwork. Nevertheless, philosopher, ¡®Michel Foucault¡¯ say, "Intuition without reason is fiction and meaningless if there is no concept of intuition." In her case, she conclusively denies the source of customs inherent in her work about the general empirical theory and reflection naturally obtained in her decades of artist life, and now excretes Epiphany's intuition from her brain, which emerges as a new horizon in her deep ego.

±×³àÀÇ ÀÛÇ° ¸íÁ¦ÀÎ ¡®Memory of the moon¡¯-¡¯´Þ¿¡ ´ëÇÑ ±â¾ï, ´Þ Ç׾Ƹ®¡¯´Â ´Ü¼øÇÑ ¼­Á¤(ßñï×)ÀÇ Àǹ̰¡ ¾Æ´Ñ ´ÙºÐÈ÷ Àι®ÇÐ, öÇÐÀûÀÎ Àǹ̸¦ ´øÁ®ÁÖ°í ÀÖ´Ù. ÈçÈ÷ ¿ì¸®°¡ À¯¾ÆÀûÀÎ ¼ø¼öÇÑ ²Þ °°Àº µ¿½É¼¼°è¸¦ Àá½Ã Â÷¿ëÇÏ°í ÀÖÁö¸¸ ±×³àÀÇ ´ÞÀº ±×¸¸ÀÇ È¸È­Àû ¼­»ç·Î½á »çÀ¯ÀÇ °³³äÀ» µ¿¹ÝÇÏ´Â ¿ª¼³ÀûÀÎ ÇÔÀǸ¦ Áö´Ñ´Ù. ÀÌ°ÍÀº °üÀÚ(ήíº)¿¡°Ô ´øÁö´Â ¼ø¼öÇÑ ÀǹÌÀÇ ¹ÌÁö¸¦ ÇâÇÑ °ü³äÀÇ µ¿°æ(ÔÓÌÕ)ÀÌ ¾Æ´Ñ ±×³à°¡ °®°í ÀÖ´Â ¹ÌÀǽÄÀÇ µ¢¾î¸®ÀÌÀÚ °ð »çÀ¯ÀÇ ÆÄÆíÀÎ °ÍÀÌ´Ù. ƯÈ÷ ±×³à°¡ ÀÛÇ°Á¦ÀÛ¿¡ »ç¿ëÇÏ´Â »ïº£(Linen)´Â Á¢ÂøÁ¦¸¦ ¹°°ú È¥¿ëÇÏ¿© »ó´ç½Ã°£ ¼÷¼ºÀ» ÅëÇÑ ³ëµ¿°ú °áÇÕµÈ ¶¡°ú ¿­Á¤À̶õ ¸Å°³(ØÚË¿)ÀÇ »ê¹°·Î½á ±×ÀÇ ÀÛÇ°°¡Ä¡¸¦ °íÁ¶½ÃÅ°°í ´õ¿í À§´ëÇÏ°Ô ¸¸µé°í ÀÖ´Ù. ÀÌ·¯ÇÑ °úÁ¤¿¡¼­ °üÂûÇØ º¸¸é ±×¸®´Â ÇàÀ§°¡ ¾Æ´Ñ ÀÚ½ÅÀÇ ÀǽÄÀ» ±âº» Àç·á¿Í °¨¼ºÀû »ö»óÀ» Á¶ÇüÀûÀ¸·Î ³ª¿­½ÃÅ´À¸·Î½á È­¸éÀ» ±äÀå½ÃÅ°´Â °üÁ¶ÀÇ µ¶Æ¯ÇÑ ÇàÀ§ÀÌ´Ù. ÀÌ°ÍÀº ÀÏÁ¾ÀÇ ÀÚ¿¬À» ÇâÇÑ ½Å¼ºÇÑ Á¦ÀÇ¿Í °°Àº ÄÃÆ®Àû ÇüÅ·κÎÅÍ ±×³àÀÇ ³»Á¦µÈ ¿ø¼÷ÇÑ ¹Ì°¨À» ÀÛÇ°¿¡ ¼øÂ÷ÀûÀ¸·Î ½ñ¾Æ³»´Â µíÇÑ ½É¿ÀÇÑ °úÁ¤À¸·Î º¸ÀδÙ. ÇÑ ¿Ã ÇÑ ¿ÃÀÇ »ïº£(linen)ÀÇ ½ÇÀÌ ÀÚ¿¬½º·´°Ô »ýµ¿Çϵí ÁßøµÇ¾î ¹¶Ä¡°í ±â¹¦ÇÏ°Ô ÀÀÃàµÇ¸é¼­ ÀϾ´Â ÀÏ·ÃÀÇ Çö»óÀûÀÎ »óÈ£ÀÛ¿ëÀ» ¸Å°³·Î ¹°¼º(Úªàõ)°úÀÇ ±äÀå°ü°è¸¦ ±×³àÀÇ °¨°¢ÀûÀÎ ¼ÕÀ» ÅëÇØ ¿ëÇؽÃŲ´Ù. ±×¸®°í À̵éÀÌ ´Ù½Ã ĵ¹ö½º¶ó´Â Æò¸é°ú °áÇÕÇϸ鼭 ¹«ÀǽÄÀûÀÌ°í µ¿½ÃÀûÀÎ ÃÊ¿ùÀû °ø°£ÀÇ Ç⿬À» ÆîÄ¡°í ÀÖ´Ù. ÀÌ·¯ÇÑ µ¶Æ¯ÇÑ ±×³à¸¸ÀÇ ½ÇÇèÀûÀÎ Á¦ÀÇ(ð®ëð)°°Àº Ç¥ÇöÀÇ Ä§¹¬°ú Á¶¿ëÇÑ ÀÀ½Ã(ëêãÊ)´Â °ð ¿øÇü°ú ´ÞÀÇ Çü»óÀ¸·Î µå·¯³ª°í µ¿½Ã¿¡ ½Ã°øÀ» ÃÊ¿ùÇÑ ´ÞÀ» ÇâÇÑ »ó»óÀÇ ¿©Á¤ÀÌ ¼­¼­È÷ ½ÃÀ۵Ǵ ÇÑÆíÀÇ ¹¬½ÃÀû µå¶ó¸¶Ã³·³ ¸¹Àº °üÀÚÀÇ °¨¼ºÀû ½Ã°¢À» À¯È¤ÇÏ°í ÀÖ´Ù.

Her proposition, ¡®Memory of the Moon¡¯ - Thoughts on the Moon, Moon Jar, is not just a lyric, but rather a humanities and philosophical meaning. Often, we borrow a childlike pure dream-like concentric world for a while, but her moon has paradoxical implications that accompany the concept of thought as its own pictorial narrative. This is not a longing for the pure meaning of toward the unknown world thrown at the viewer, but a mass of her aesthetic consciousness and a fragment of thought. In particular, Linen, which she uses to produce her work, is a product of sweat and passion combined with labor through aging for a considerable amount of time by mixing glue with water, enhancing and making his work even greater. Observing in this process, it is not an act of drawing, but a unique act of contemplation that formatively harmonizes her consciousness with basic materials and emotional colors and feeling of tension its canvas. It seems to be a profound process that seems to sequentially pour the mature aesthetics inherent in her hands into the work from a cult form such as a kind of sacred ritual to nature. Each thread of hemp cloth naturally overlaps, clumps, and strangely condenses, dissolving the tension with physical properties through a series of phenomenal interactions. And as they are combined with the plane called canvas again, they are holding a feast of unconscious and simultaneous transcendental space. Her unique experimental ritual-like silence and quiet gaze are soon revealed in the shape of the circle and moon, and at the same time, the imaginary journey to the moon transcending time and space begins gradually, attracting many people¡¯s emotional views like an implied drama.


In the end, the narrative of the moon, the final destination of the formativeity she aims for, overwhelms the dense gaze of the people as a result of the work. The artist's hidden intention projects not only his senses but also the flow of consciousness into the work, and also, deep thoughts resulting from it penetrate the ultimate aesthetic's dual work trajectory. Looking at it from the perspective of cosmology, it is a methodology of consciousness that naturally attracts and attempts to empathize with the vision of the viewer into the mystery of the planet called the moon and the virtual reality of surreal imagination. Sometimes it is contained in the shape of a jar, and sometimes it is a three-dimensional circular organism that contains the aesthetic consciousness she sees. However, the concept of "difference" seems to be more necessary in terms of visual aspects with many artists who frequently borrowed only simple forms as a signature called a moon jar.


Memory of the Moon, Acrylic ,Linen on canvas



±×³àÀÇ ÀÛÇ°Á¦ÀÛÀÇ ¸ÞÄ¿´ÏÁòÀº Æò¸éȸȭ¿¡ ´ëÇÑ ½ÇÇèÀ» ÅëÇÑ Á¶Çü¼ºÀÇ È®Àå, Áï ¿ª¼³°ú ¾ÆÀÌ·¯´Ï, dzÀÚÀû ¿ä¼ÒÀÇ Æ÷½ºÆ® ¹Ì´Ï¸Ö¸®ÁòÀ̶ó´Â °æÇâÀÇ ÄÁÅÛÆÛ·¯¸® (Contemporary Art) ȸȭ¿µ¿ª¿¡ °ÉÃÄÀÖ´Ù. ÀÌ·¯ÇÑ ¡®Casualism¡¯Ä³ÁÖ¾ó¸®Áò, ¼ÒÀ§ Æ÷½ºÆ® ¹Ì´Ï¸Ö¸®ÁòÀº °³Ã¼¿Í °³Ã¼ÀÇ °áÇÕ¿¡¼­ ±â´ëÇÏÁö ¸øÇÑ ¾û¶×ÇÑ È¥¼º Á¶ÇÕ(Hybrid Combination)ÀÎ Á¦3ÀÇ °á°ú¹°À̶ó´Â ÇÔÀÇ´Ù. ÀÌ¿Í °°ÀÌ ±×³àÀÇ ÀÛÇ°Àº ȸȭÀÇ Ç¥¸é¿¡ ÀÔüÀû ½ÇÇè°ú ¸ðÈ£ÇÏÁö¸¸ ¼¼·ÃµÈ °áÀ» ½Ã°¢Àû À¯Èñ·Î º¸´Â ¹æ½Ä, Çö´ëȸȭÀÇ ½Ã´ëÀû ´Ü¸éÀ» º¸¿©ÁÖ´Â »õ·Î¿î °³³äÀÇ Ã¢ÀÛ¹°ÀÌ´Ù. ´õÇÏ¿© ÀÛÇ°Á¦ÀÛ °úÁ¤ÀÇ ¼öÇàÀ» ÅëÇÑ µ¿¾çÀûÀÎ »çÀ¯¿Í Á¤ÀûÀÎ ¹Ì°¨À» º¸¿©ÁÖ°í ÀÖ´Â µ¶Æ¯ÇÏ°í âÀÇÀûÀÎ ÀÛÇ°¾çŸ¦ º¸ÀÌ°í ÀÖ´Ù. ÀÌ·¯ÇÑ ±×³àÀÇ »õ·Î¿î ÀÛÇ°µéÀÌ Áö´Ñ °íÀ¯ÇÑ ½Åºñ¼ºÀÌ ÃÖ±Ù Çö´ë¹Ì¼ú ½ÃÀåÀÇ ¸ÞÄ«ÀÎ ¹Ì±¹ ¸¶ÀÌ¿¡¹Ì ¾ÆÆ®Æä¾î¿¡¼­ ±¸¸ÅÀÚ¿¡°Ô ¼±ÅõǴ µî, ±Û·Î¹ú½ÃÀå¿¡¼­ Å« °¡´É¼ºÀ» º¸ÀÌ°í ÀÖ´Ù.

 

 

ÀÌ ºØ ¿­ / Æò·Ð, µ¶¸³Å¥·¹ÀÌÅÍ, IACO Art Agency´ëÇ¥

 






ÀÎ µð ¿£µå ´õ ³»·¯Æ¼ºê ¾îºê ´õ ¹® ´õ ÆÄÀ̳Πµ¥½ºÅͳ×ÀÌ¼Ç °á±¹ ±×³à°¡ ÁöÇâÇÏ´Â Á¶Çü¼ºÀÇ Á¾ÂøÁöÀÎ ´ÞÀÇ ¼­»ç(Epic)´Â ÀÛÇ°À̶ó´Â °á°ú¹°·Î½á °üÀÚÀÇ ¹Ðµµ ÀÖ´Â ½Ã¼±À» ¾ÐµµÇÏ°í ÀÖ´Ù. ÀÌ·¯ÇÑ ÀÛ°¡ÀÇ ¼ûÀº Àǵµ´Â ÀÏÂ÷ÀûÀ¸·Î ¿À·ÎÁö ÀÚ½ÅÀÇ °¨°¢¸¸ÀÌ ¾Æ´Ñ ÀǽÄÀÇ È帧À» ÀÛÇ°¿¡ Åõ¿µ½ÃÅ°´Â °ÍÀÌ°í µ¿½Ã¿¡ ±×°÷¿¡¼­ ºñ·ÔµÇ´Â ±íÀº »çÀ¯´Â ±Ã±Ø¹ÌÇÐÀÇ ÀÌÁßÀûÀÎ ÀÛÇ°±ËÀûÀ» °üÅë½ÃÅ°´Â °ÍÀÌ´Ù. ¿ìÁÖ·ÐÀÇ °üÁ¡¿¡¼­ ¹Ù¶óº¸¸ç ´ÞÀ̶ó´Â Ç༺ÀÇ ½Åºñ¼º, Å» Áö±¸Àû °³Ã¼, Áï, ÃÊÇö½ÇÀû »ó»ó¹°(ßÌßÀÚª)À̶ó´Â °¡»ó½Çü ¼ÓÀ¸·Î °üÀÚÀÇ ½Ã°¢À» ÀÚ¿¬½º·´°Ô ²ø¾îµéÀÌ°í °ø°¨À» ½ÃµµÇÏ´Â ÀǽÄÀÇ ÇÑ ¹æ¹ý·ÐÀÎ °ÍÀÌ´Ù. ¶§·Ð Ç׾Ƹ® Çü»ó¿¡ ´ã°í ¶§·Ð ÀÔüÀû ¿øÇüÀÇ À¯±âü·Î ±×³à¸¸ÀÇ ½ÇÁ¸Àû ¹ÌÀǽÄÀ» ´ã¾Æ³»°í ÀÖ´Ù. ´Ù¸¸ ´Þ Ç׾Ƹ®¶ó´Â ½Ã±×´Ïó(Signiture)·Î ´Ü¼ø ÇüŸ¸À» ÀÚÁÖ Â÷¿ëÇÑ ¸¹Àº ÀÛ°¡µé°úÀÇ ½ÃMemory of the Moon, Acrylic ,Lin±×³àÀÇ ÀÛÇ°Á¦ÀÛÀÇ ¸ÞÄ¿´ÏÁòÀº Æò¸éȸȭ¿¡ ´ëÇÑ ½ÇÇèÀ» ÅëÇÑ Á¶Çü¼ºÀÇ È®Àå, Áï ¿ª¼³°ú ¾ÆÀÌ·¯´Ï, dzÀÚÀû ¿ä¼ÒÀÇ Æ÷½ºÆ® ¹Ì´Ï¸Ö¸®ÁòÀ̶ó´Â °æÇâÀÇ ÄÁÅÛÆÛ·¯¸® (Contemporary Art) ȸȭ¿µ¿ª¿¡ °ÉÃÄÀÖ´Ù. ÀÌ·¯ÇÑ ¡®Casualism¡¯Ä³ÁÖ¾ó¸®Áò, ¼ÒÀ§ Æ÷½ºÆ® ¹Ì´Ï¸Ö¸®ÁòÀº °³Ã¼¿Í °³Ã¼ÀÇ °áÇÕ¿¡¼­ ±â´ëÇÏÁö ¸øÇÑ ¾û¶×ÇÑ È¥¼º Á¶ÇÕ(Hybrid Combination)ÀÎ Á¦3ÀÇ °á°ú¹°À̶ó´Â ÇÔÀÇ´Ù. ÀÌ¿Í °°ÀÌ ±×³àÀÇ ÀÛÇ°Àº ȸȭÀÇ Ç¥¸é¿¡ ÀÔüÀû ½ÇÇè°ú ¸ðÈ£ÇÏÁö¸¸ ¼¼·ÃµÈ °áÀ» ½Ã°¢Àû À¯Èñ·Î º¸´Â ¹æ½Ä, Çö´ëȸȭÀÇ ½Ã´ëÀû ´Ü¸éÀ» º¸¿©ÁÖ´Â »õ·Î¿î °³³äÀÇ Ã¢ÀÛ¹°ÀÌ´Ù. ´õÇÏ¿© ÀÛÇ°Á¦ÀÛ °úÁ¤ÀÇ ¼öÇàÀ» ÅëÇÑ µ¿¾çÀûÀÎ »çÀ¯¿Í Á¤ÀûÀÎ ¹Ì°¨À» º¸¿©ÁÖ°í ÀÖ´Â µ¶Æ¯ÇÏ°í âÀÇÀûÀÎ ÀÛÇ°¾çŸ¦ º¸ÀÌ°í ÀÖ´Ù. ÀÌ·¯ÇÑ ±×³àÀÇ »õ·Î¿î ÀÛÇ°µéÀÌ Áö´Ñ °íÀ¯ÇÑ ½Åºñ¼ºÀÌ ÃÖ±Ù Çö´ë¹Ì¼ú ½ÃÀåÀÇ ¸ÞÄ«ÀÎ ¹Ì±¹ ¸¶ÀÌ¿¡¹Ì ¾ÆÆ®Æä¾î¿¡¼­ ±¸¸ÅÀÚ¿¡°Ô ¼±ÅõǴ µî, ±Û·Î¹ú½ÃÀå¿¡¼­ Å« °¡´É¼ºÀ» º¸ÀÌ°í ÀÖ´ÙÀÌ ºØ ¿­ / Æò·Ð, µ¶¸³Å¥·¹ÀÌÅÍ, IACO Art Agency´ëÇ¥


The mechanism of her work production spans the field of contemporary Art painting, which tends to be post-minimalism of paradox, irony, and satirical elements, which is the expansion of formability through experiments on flat painting. This 'Casualism', so-called post-minimalism, is the third result of unexpected hybrid combination of individuals and individuals. As such, her work is a creation of a new concept that shows a cross-section of contemporary painting, a way of viewing three-dimensional experiments, ambiguous but sophisticated texture on the surface of painting as a visual play. In addition, it shows a unique and creative form of work that shows oriental thoughts and static aesthetics through the performance of the production process. The unique mystery of these new works is showing great potential in the global market, with them recently being selected by buyers at the Miami Art Fair in the United States, the mecca of the contemporary art market.

Alvin Lee, Bung Lyol / Critic, Independent Curator, CEO-IACO Art Agency


Biographical Note


Lee, Hyoung Hee (1952-      )


B.F.A. in Department of Art Education, Sungshin Women's University
Selected Solo Exhibitions & Group Exhibitions
Solo Exhibitions

14 times of Solo-Exhibitions Group Exhibitions

Scope Art Show New York 2020 USA

Scope Art Show Miami 2019 USA

AFF Amsterdam 2019 Nethelsland

Art Nordic Denmark 2019
Invitation of L.A. western gallery opening exhibition
Roses and propose of flowers present exhibition (gallery Gag)
Exhibition of Korea fine arts association (Seoul art center)
Exhibition of Busan fine arts festival (Busan cultural center)
Busan art festival exhibition (Busan cultural center)
Gyeongsang-Jeonra exchange exhibition (Busan city hall)

Participated in various exhibitions in Korea and abroad

Awards
Grand Prize in the 17th Korea Pastel Grand Contest-Exhibition,




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