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Lonevity(Arirang Fantasy) 65.1 x 90.9cm 2007
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Lonevity(Arirang Fantasy) 72.7 x 60.6cm 2007
Lonevity(Arirang Fantasy) 45.5 x 37.9cm 2007
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Ⱥ´¼ÓÀÇ ¶óÀ̶ô 50 x 65.1cm 2000
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Àå »ýµµ (06F30-12) 90.9 x 72.7cm 2006
Àå»ýµµ(06F08-8) 53 x 45.5cm 2006
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½ÊÀå»ý 90.9 x 72.7cm 2003
¡®Jangsaengdo¡¯ of Oh Yoo-wha
Fresh idea integrating western and eastern aesthetics.
Written by Shin, Hang Sup / Art Critic |
In the paintings, the colors lead
the formative thinking. In other words, formative language and usage are
different according to the color materials. The paintings are considered
as making the formative language and usage according to the properties of
color and expression style. Oil painting requires the stable fabric canvas
because it is painted by the mixed materials such as oil and mineral pigments. |
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Lighting and shading techniques are designed
to such properties of the materials. In the meantime, water painting requires
the paper instead of the canvas, focusing on the transparency because it
has the water as its media. Therefore, it is not natural to draw the indian
ink pictures by using the oil colors, and vise versa, it is not also proper
to draw the extreme reality by using the indian ink. |
¿©¸í 162.2 x 130.3cm 1999
Àå»ýµµ 45.5 x 37.9cm 2006
Lonevity (Nature) 45.5 x 37.9cm 2007
The western expression styles require the materials such as oil color
or tempera etc., while the oriental ones require the indian ink and traditional
colored materials. Likewise, those two styles have been strictly divided
in their styles or techniques according to the properties of the materials.
Namely, it is true that it was not to interrupt with other's area. However,
today's contemporary art aesthetics are generalized without inherent areas
or boundaries.The boundaries between them are getting more and more vague
as well as in the entire art fields including the literature, art, music,
theatre and movie. |
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Mr. Oh Yoo-wha, the artist, is attempting
the new concept of oil painting overcoming the previous stereo type of
the paintings, in line with the current times. His works are the results
of a little bold idea, under the premise of the harmony between the tradition
and modernity and western and oriental. To integrate the different concepts
into one accompanies some adventurous attempts. Yes, it is. To the artist,
imagining something new will be very exciting but painful. It is appropriate
to the ethics of the creativity, to try new attempts that nobody has never
tried. Nevertheless, it would be anxious all the time in front of the
unknown world, because it is not so simple to overcome the existing formative
concepts and usages of the different materials in the western and oriental
paintings.
He has done realistic art works by using the oil materials, in pursuit
of the purity beauty as seen in his previous expression areas including
the landscape or the picture of still life. He has represented the visible
world as it was, while not avoided expressing more beautiful nature than
the as it was.
µé²ÉÀÌ ÀÖ´Â Á¤¹° 91 x 116.8cm 1996
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Àå»ýµµ 45.5 x 37.9cm 2004
The orientation of the picture lies in the ideal world of view. Therefore,
he thinks as important, the aesthetic exciting feeling caused from the
visual happiness. This means he does not hesitate to reflect his own aesthetic
emotion ranging from the material choice to the composition and painting.
His works have been done based on his intensive search for a certain materials
in the naturalism trends. His repeated items |
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Àå»ýµµ 45.5 x 37.9cm 2006
such as the valleys, peony blossoms and roses are because of such naturalism
trends. Intensively and repeatedly drawn items are the expression of his
willingness to represent their formative features together with the beautiful
aspects. As the paintings are drawn by the hands, they starts from the
skill. More precise skill forms the refinement beautifulness. The refinement
beautifulness is one of the artistic or aesthetic value.
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ºûÀÇ À¯ÈñVI 223 x 113cm 2002
Á¤¹°°è°î III 72.7 x 60.5cm 2000
In reality, his peony blossoms, roses and valleys paintings have greater
perfectness than his other works. Probably his a lot of practices and
work volumes would contribute to this. To be familiarized to the skilled
hands, the mature image should follow. If the picture is not simply the
result of simple function but the expression of aesthetic and art value,
the artist's world view would come when we seem them. Dedication to a
few certain objects is the means to bring about more clear image on the
painting. If the image is clear, the artist would represent more clearly.
Even in case of the realistic works, the artist creates some other new
images from there while even artist does not realize. From this stage,
the artist brings in his own aesthetic world from this stage.
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From his recent works, I can see he stepped
into such steps of the artists. In a word, he show his mature skills through
his paintings. The skill is mature to be turned into the refinement beautifulness.
Like this, when an artist reaches the degree where he/she can draw the
printings only without the image not even in front of the objects, the
artist finally has open eyes toward the individual world. Maybe ¡®Jangsaengdo¡¯(traditional
10 longevity symbols including the tuttle and herb of eternal youth) has
been formed through this premise. Now he can see the landscape without
seeing the objects, he seems to have desire to create unique formative
beauty through freedom of formative thinking.
Basically, ¡®Jangsaengdo¡¯ follows the naturalism and realism in the expression
style. However, it seems to new even though it contains the general landscape.
It is because sun, moon, crane, deer and bamboo appear unlikely other
landscape paintings.
Á¤¸ª °¡´Â ±æ¿¡ 33.4 x 24.2cm 2000
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Àå»ýµµ(06F20-13) 72.7 x 60.6cm 2006
Such subjects in this artist's
paintings have the same formative beautifulness as the 10 Longevity Jangsendo.
It is some kind of visual shocking when we see these unusual subjects
in his paintings. This unexpectedness is his appealing power in his new
style.
The 10 longevity images appearing in the naturalism painting styles are
unusual experiences breaking the stereotype. This is the experimental
attempts for the harmony between the western and oriental paintings. It
is not expected but familiar. Why is it? As these subjects are familiar
to us, it is not strange to see it. And these objects may be seen from
the landscape without meaning of the longevity. However, from his paintings,
the subjects and kinds of all 10 longevity life appear together on the
canvas, bringing about the image associated.
His ¡®Jangsaengdo¡¯ opens up the possibility for new expressionism style
when those different expression and subject encounter. New style of paintings
are the products of free formative thinking away from the generality.
Being afraid of new expression techniques, formative language and usage
may not allow flexible responses to them. Previously, it was considered
as there would be no common points in the cultural background, materials
and the way of thinking between the oriental and western formative concepts.
However, as we can see from his recent works, new style of expression
starts to emerge from the current time. This is something new different
with previous landscape or 10 longevity painting. Of course, there is
no formative problems. Moreover, he seems to face a Utopia as the sublimity
reality and as the new world.
It is very surprising attractiveness of the formative art to see different
world by only placing 10 traditional longevity symbols on the daily routine
landscape.
His recent works start to show new changes in Jangsaengdo, by dividing
the screen vertically and introducing abstract images.
ºÎ±Í 33.4 x 24.2cm 1999
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ÀÚ¸ñ·Ã II 33.4 x 24.2cm 2001
Áß±¹ À§Çؽà Àü½Ã¶§ (Áß±¹ ºÎ½º °³ÀÎÀü)
For example, he places the abstract images around the Jangsaengdo on
the center, which is the commonly used techniques in the contemporary
paintings.
As we can see from this, he seems to seek for the associations with contemporary
aesthetics by introducing the abstract images after adding the Korean
traditional 10 longevity symbols.
¹é¸ð¶õ I 33.4 x 24.2cm 2000
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Therefore, his paintings are evolving
through onto the contemporary art appealing and experimental. This attempt
is somehow intentional. He seems to design this plan precisely to form
the new formative usage containing Korean, western and contemporary concepts
all in together. In the abstract part, the traditional patterns such as
the clouds and waves are drawn in a series of image, while the rainbow
images are painted in various colors. These images in the abstract part
contains the Korean emotion like this.
Why is he dedicated to Korean image and emotion? It may be the pursuit
to form his unique formative world, and also he felt the needs to expression
his true identity across various overseas exhibitions. He knew he would
find a certain answer by combining the formative language and format,
even though following the western materials and aesthetics, His such views
are clearly shown in his recent works. He seems to be sure that the self-persuasive
works would be the short cut of the globalization. And he starts to make
such achievements through his recent works.
Even though the traditional works are also important, he actually proves
that the creativity is the ethics of the artist and thereby it is important
to seek for new aesthetics corresponding to the current time sensibility.
In this meaning, his 'Jangsaengdo' is the new formative attempts to integrate
the tradition and modernity, western and oriental aesthetics, abstract
and representation into one world. This is also means of actively being
in line with the people in today's society. To establish new formative
world, it is necessary to have this pioneering minds.
Æĸ® ±×¶û¼î¹Ì¿¡¸£ ¿¬¼ö½ÃÀý ¸ð³×Á¤¿ø¿¡¼ È¿ìµé°ú ÇÔ²² 2000³â
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ÀÚ¸ð¶õ II 25.8 x 17.9cm 2000
ºÐÈ«Àå¹Ì (06F06-07) 40.9 x 31.8cm 2006
¹Ù´å°¡ À¯Ã¤ 53 x 40.9cm 1998
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ÇÒ ¼ö ¾ø´Ù.
³ë¶ûÀå¹Ì (06F06-6) 40.9 x 31.8cm 2006
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Çعٶó±â II 37.9 x 45.5cm 1998 |
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¶È°°Àº ³«¿ø»ç»óÀ» ´ëÇ¥ÇÏ´Â ºÒ±³ÀÇ ¸¸´Ù¶ó(غÒþÔþ)´Â ²ÉÀÌ ¹«´ëÀÌ°í ±× ²É ÀÙ»ç±Í¿¡ Àΰ£(ÜÌß±)ÀÌ µîÀåÇÑ´Ù. ÇÏÁö¸¸ Àå»ýµµ(íþßæÓñ)´Â
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½Ã¿¡¼ ½ÊÀå»ýÀ» ´ÙÀ½°ú °°ÀÌ À¼¾ú´Ù.
ÇѺ¹¿©ÀÎ 97 x 145.5cm 1987
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´©µå I 53 x 72.7cm 1999
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OH, YOO-HWA
• °³ÀÎÀü 12ȸ (Æĸ®, ÀϺ» µ¿°æ, ¼¾´ÙÀÌ, Áß±¹ À§ÇØ, ¼¿ï)
• È«ÀÍ´ëÇб³ ¹Ì¼ú´ëÇпø ¼ö·á
• ÇÁ¶û½º ±×¶û¼î¹Ì¿¡¸£ ¿¬¼ö
• Àü±¹ »õ¸¶À» ¿¹¼úÁ¦ ÃÖ¿ì¼ö»ó (±¹¸³±ØÀå)
• ´ëÇѹα¹ û¼Ò³â ¿¹¼úÁ¦ ¿ì¼ö»ó (¼¼Á¾¹®Èȸ°ü)
• ±¹¸³Çö´ë¹Ì¼ú°ü ÃÊ´ëÀü (¿òÁ÷À̴ ã¾Æ°¡´Â ¹Ì¼ú°ü)
• • µ¶ÀÏ º£¸¦¸° ½ÃÀå ÃÊ´ëÀü (µ¶ÀÏ)
• Æ丣ÇÁ·Ï µå½ºµµ¸£ÇÁ ¹ÙÀÌÁ¨ ½ÃÀå ÃÊ´ëÀü (¿À½ºÆ®¸®¾Æ)
• »óÆÄ¿ï·Î À̹Π¹Ú¹°°ü ÃÊ´ëÀü (ºê¶óÁú)
• ÇϾóºó ½Ã¸³¹Ì¼ú°ü ÃÊ´ëÀü (Áß±¹)
• ´º-½Î·Õ 6°³±¹ ÃÊ´ëÀü (¼¿ï½Ã¸³¹Ì¼ú°ü)
• û´ã¹Ì¼úÁ¦ ÃÊ´ëÀü (Á¶¼±È¶û)
• Çѱ¹¹Ì¼úÇùȸÀü (¿¹¼úÀÇ Àü´ç)
• ÇÑÀÏ Ã¢ÀÛ ±³·ùÀü(µ¿°æ, ÁÖÀÏ´ëÇѹα¹ ´ë»ç°ü ¹®È)
• ¡®76Àι°È 3ÀÎÀü (¼ö¿øȶû)
• Àü¶ó³²µµ ¹Ì¼ú´ëÀü ½É»çÀ§¿ø ¿ªÀÓ
• ´ëÇѹα¹¹Ì¼ú´ëÀü ½É»çÀ§¿ø ¿ªÀÓ
• ´ëÇѹα¹ ±³Á÷¿ø °ø¸ðÀü ½É»çÀ§¿ø ¿ªÀÓ
• ´ëÇѹα¹ ¼¿¹ÀÛ°¡Çùȸ ¿î¿µÀ§¿ø ¿ªÀÓ
Æò·Ð
• ÀÛ°¡ÀÛÇ°·Ð ¿¬Àç <¼ø¼öȸÈÆò·ÐÁö ¡®¹Ì¼ú°ú ºñÆò¡¯>
ÇöÀç
• Çѱ¹¹Ì¼úÇùȸ, ¸ñ¿ìȸ,Àü¾÷ÀÛ°¡È¸, ÇÑÀÏâÀÛȸ,
±¹Á¦È¿ìȸ ȸ¿ø
• ¿¹¿ø¿¹¼ú´ëÇб³ °´¿ø±³¼ö
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• Finished fine arts study in "Hong-ik Univ.
• Won the best prize at the National Sae-Ma-Eul
Arts fest.
• Won the excellent prize at the Korean youth
arts fest.
• Accepted as a special selection of 2 times and
a general
selection of 3 times
(National modern arts museum in KwaCheon)
• Accepted as a special selection at an open contest
by
a Mokwoo club
• Accepted as a special selection at a new arts
contest
(Citizen arts museum in
Seoul)
• Invitation exhibition at Nation modern fine
Museum
(Movining Museum)
• Invitation exhibition at Berlin Mayor in Germany
• Invitation exhibition at Perpdok De Sdorf (Austria)
• Invitation exhibition at Sao Paulo emigrant
museum
• Invitation exhibition at Haerbin citizen fine
arts museum
• 6 Countries invitation at Cheong-dam fine arts
fest.
(Cho-sun Gallery)
• Korea-Japan arts exchange exhibition
(Korean Embassy culture
center in Tokyo)
• Beauty painting exhibition in Seoul (Citizen
arts museum in Seoul)
• '76 Portraits by 3 articles exhibition (Suwon
Gallery) and ect.
• Elected an inspector at Jeonlanam-Do Arts Fest.
• Elected an inspector at Nation Arts Exhibition
• Elected an inspector at Korean teachers open
exhibition
• Elected an manager at chinese traditional Writing
club in Korea
Critics writing
• Periodically continued to submit writing works
comments
<Critic and Arts>
Present
• A member at Korean fine arts association, Member
of Mokwoo association
• A professional Painters association and Member
of
an international painters association
.
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