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Lonevity(Arirang Fantasy) 90.9 x 65.1cm 2007


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Lonevity(Arirang Fantasy) 65.1 x 90.9cm 2007

 


Lonevity(Arirang Fantasy) 72.7 x 60.6cm 2007


Lonevity(Arirang Fantasy) 45.5 x 37.9cm 2007

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°í±Ã¿¡ ÇÉ ¸ð¶õ I 45.5 x 37.9cm 2000

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È­º´¼ÓÀÇ ¶óÀ̶ô 50 x 65.1cm 2000

 


Àå »ýµµ (06F30-12) 90.9 x 72.7cm 2006



Àå»ýµµ(06F08-8) 53 x 45.5cm 2006

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ÈòÀå¹Ì 45.5 x 37.9cm 2007

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ºÓÀº Àå¹Ì 40.9 x 31.8cm 2006

 


¹éÀå¹Ì 40.9 x 31.8cm 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.   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.

 

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



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

 


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.


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.

 

 

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


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

 


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


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.

 


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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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Àå»ýµµ (06F30-50) 90.9 x 72.7cm 2006


dz°æÈ­°¡ À¯·´¹Ì¼ú»ç¿¡ óÀ½ µîÀåÇÏ°Ô µÇ´Â °ÍÀº 18¼¼±â ³¶¸¸ÁÖÀǽôëÀÌ´Ù. È­°¡µéÀº ¿À·£ µ¿¾ÈÀÇ Áß¼¼ÀûÀÎ ±Ý¿åÁÖÀÇ¿¡ ³Í´õ¸®¸¦ ÃÆ´ø ½Ã¹Î°è±ÞÀÌ ¹«¾ùÀ» ¿øÇÒÁö¸¦ À绡¸® °è»êÇÏ°í ÀÖ¾ú´Ù. ±×µéÀÌ ±×·Á³½ dz°æÈ­´Â ¿ÀÁ÷ ºÎÀ¯ÇÑ ½Ã¹Î°è±Þ¸¸ÀÌ °¨»óÇϰųª Á¢±ÙÇÒ ¼ö Àִ Ưº°ÇÑ Àå¼Ò¿´´Ù. À̸¦Å×¸é ±× Ç³°æÀº ¿¡µ§µ¿»êÀÇ À̾߱⳪ ±×¸®½º½ÅÈ­ÀÇ µîÀåÇÏ´Â ½Åµé°ú ¹«°üÇÏÁö ¾Ê´Â °ÍÀ̾ú´Ù. ¼­¾ç¹Ì¼ú»ç°¡ dz°æÈ­¸¦ ³¶¸¸ÁÖÀÇ ½Ã´ë¸¦ ´ëÇ¥ÇÏ´Â Áß¿äÇÑ È¸È­À帣·Î Ãë±ÞÇÏ°í ÀÖ´Â °Íµµ ±×·¸´Ù. ¿ÀÀ¯È­ÀÇ Ç³°æÈ­ÀÛ¾÷À» ÁøÁöÇÏ°Ô ¸»Çϱâ À§Çؼ­´Â dz°æÈ­°¡ ¿Ö ³¶¸¸ÁÖÀÇÀÇ ²ÉÀ¸·Î µîÀåÇß´ÂÁö¸¦ ÀÌÇØÇØ¾ß ÇÑ´Ù. °õºê¸®Ä¡°¡ ¾´ <¼­¾ç¹Ì¼ú»ç>Á¦20 Àå¿¡´Â ÇÁ¶û½ºÈ­°¡ ¾ÓÅõ¿Ï ¹ÙÅä°¡ ±×¸° <°ø¿øÀÇ ¿¬È¸>¶ó´Â ÀÛÇ°ÀÌ ÁÖ¸ñÀ» ¹Þ°í ÀÖ´Ù. ÀÌ ÀÛÇ°Àº ¿ÀÀ¯È­ÀÇ ¡®ÆòÈ­¡¯¶ó´Â dz°æÀÛÇ°°ú ºñ±³ °¨»óÇϱ⿡ ÀûÀýÇÑ °ÍÀÌ´Ù. ¹ÙÅäÀÇ Ç³°æÀº ºûÀ» ÀǹÌÇϴ Ȳ±Ý»öÀ» È¿°úÀûÀ¸·Î »ç¿ëÇÏ°í ÀÖÀ½À» º¸°Ô µÇ´Âµ¥ ¿¹ÄÁ´ë ¿ø°æÀ¸·ÎºÎÅÍ È²±Ý»ö¿¡ ¹Ð·ÁµéµíÀÌ ½£¼ÓÀ¸·Î ÆÛÁö¸é¼­ ½Åºñ°¨À» ÁØ´Ù. È­°¡°¡ dz°æÀÇ ÇÑÂÊ ½£¼Ó¿¡ ½Å»óÁ¶°¢(ãêßÀðÁʾ)À» ¹èÄ¡ÇÏ°í ÀÖ´Â °Íµµ ÀÌ·± ÀǵµÀÌ´Ù. Áß¿äÇÑ °ÍÀº ¹Ù·Î ÀÌ·± ½ÅºñÇÏ°Ô ´À²¸Áö´Â dz°æ ¾È¿¡¼­ È­·ÁÇÑ ÀÇ»óµéÀ» °ÉÄ£ »ó·ùÃþÀÇ »ç¶÷µéÀÌ ¾ßÀ¯È¸¸¦ Áñ±â°í ÀÖ´Ù´Â »ç½ÇÀÌ´Ù. È­°¡´Â ½ÅºñÇÑ ³«¿øÀº ¿ÀÁ÷ Ư±ÇÃþÀÇ °ÍÀ̶ó°í ¾ÆºÎÇÏ°í ÀÖ´Â ¼ÀÀÌ´Ù. Àι°Àº ´Ù¸£Áö¸¸ ¿ÀÀ¯È­ÀÇ ¡®ÆòÈ­¡¯¿¡¼­µµ Àι°µéÀÌ Ç³°æ ¾È¿¡ µé¾î¿Í ÀÖ´Ù. Ŭ¶óÅ©°æÀÇ ¸»´ë·Î Àι°Àº ¡®ÀÚ½ÅÀÌ Ç³°æ ¼Ó¿¡ µé¾î¿Í ÀÖ´Ù°í Âø°¢ÇÏ°í ÀÖ´Â °ÍÀÌ´Ù.¡¯ ¹°·Ð ¿ÀÀ¯È­ÀÇ Àι°Àº ¼Ò½Ã¹ÎÀÇ ÇÑ °¡Á·¿¡ ºÒ°úÇÏÁö¸¸ ±×µéÀº ÇູÇÑ ¸ð½ÀÀ¸·Î dz°æ ¼Ó¿¡ ¾È°ÜÀÖ´Ù. ÁÖ¸ñÇÒ °ÍÀº Ä޺긮ġ°¡ ¹ÙÅäÀÇ <°ø¿øÀÇ ¿¬È¸>¿¡ ´ëÇØ Çؼ³ÇÏ°í ÀÖ´Â ´ÙÀ½ÀÇ ±ÛÀÌ´Ù.

±×´Â »ý¾ÖÀÇ Àü¹Ý±â¸¦ Çϸ¦·½À̶ó´Â ¾Æ¸§´Ù¿î µµ½Ã¿¡¼­ º¸³Â´Âµ¥ ±× µµ½Ã´Â ½£ÀÌ ¿ì°ÅÁø ¸ð·¡ µÐ´öÀ¸·Î µÑ·¯½ÎÀÎ ¹Ù´å°¡ ¸¶À»À̾ú´Ù.
±×´Â ÀÌ ³ÐÀº µÐ´ö¿¡ »ý°Ü³ª´Â ¸í¾ÏÀÇ È¿°ú¸¦ Áñ°Ü °üÂûÇßÀ¸¸ç Á¡Á¡ ¡®ÇÑ ÆøÀÇ ±×¸² °°Àº¡¯ ½£ÀÇ Ç³°æÀ» Àü¹®ÀûÀ¸·Î ±×¸®±â ½ÃÀÛÇß´Ù.


³ë¶ûÀå¹Ì (07F04-12) 33.4 x 24.2cm 2007

 


ÇØÁú³è 72.7 x 53cm 1999

dz°æÀ» ±×¸®°Ô µÈ °ÍÀÌ °ÅÀÇ ¿ì¿¬ÇÑ ÀÏÀÎ °Íó·³ ¾ð±ÞµÇ¾î ÀÖ´Ù. ÇÏÁö¸¸ ÀÌ ½Ã´ë´Â Á¾±³°³ÇõÀ¸·Î È­°¡°¡ ´õ ÀÌ»ó ±³È¸¿¡ ¾ô¸Å¾î ÀÖ¾î¾ß ÇÒ ÀÌÀ¯°¡ ¾ø¾ú´Ù. µû¶ó¼­ È­°¡°¡ ÀÚÀ¯·Ó°Ô dz°æÀ» ±×·È´Ù°í Çؼ­ ÀÌ»óÇÒ ÀÏÀº ¾Æ´Ï´Ù. ¹®Á¦´Â ´ç´ëÀÇ ÇÁ¶û½º »ó·ùÃþÀÌ ¿Ö, ½£À» ÁÁ¾ÆÇßÀ»±î ÀÌ´Ù, ¿µ±¹ÀÇ ¹Ì¼úºñÆò°¡ Äɳ׵å Ŭ¶óÅ©´Â Áß¼¼ÀÇ È­°¡µéÀº »ç¶÷µéÀÌ Á¤¿ø¿¡¼­ ¾ûµ¢À̸¦ ºÙÀÌ°í ¾É´Â ¸ð½ÀÀ» ±×¸®´Â °ÍÀ» ±Ý±â½Ã Çß´Ù°í ½è´Ù. ÁÖ·Î Á¾±³ÀûÀÎ ¾ö°ÝÇÑ °èÀ² ¶§¹®ÀÌÁö¸¸ º»ÁúÀûÀ¸·Î´Â Á¤¿ø¿¡´Â Àΰ£À» Ÿ¶ô½Ãų ¼ö ÀÖ´Â ¿ä¼ÒµéÀÌ ¿©±âÀú±â¿¡ ¼û°ÜÁ® ÀÖ´Ù°í ¹Ï¾ú±â ¶§¹®ÀÌ´Ù. À̸¦Å׸é Àå¹Ì²ÉÀº ÈÄ°¢À» ¸¶Ãë½ÃÅ°¸ç »õµéÀÇ ¿ïÀ½¼Ò¸®´Â û°¢À» ÇöȤÇÑ´Ù´Â »ç½ÇÀÌ´Ù. ÀÌ·± »ç½ÇÀº ±âµ¶±³ÀÌÀüÀÇ À¯·´ÀεéÀÌ ½ÇÀº ±×µéÀÌ ¼þ¹èÇß´ø »êõ(ߣô¹)À̳ª ½£¿¡´Â Á¤·ÉÀÌ ÀÖ´Ù°í ¹Ï¾ú´ø dz¼Ó°ú °ü·ÃÀÌ ÀÖ´Â °ÍÀÌ´Ù. ÀÌ´Â ¿ì¸®ÀÇ °æ¿ìµµ ¿¹¿Ü´Â ¾Æ´Ï´Ù. ¾Æ¹«Æ° ÀÌ·± ¹è°æÀ» ÀÌÇØÇÏÁö ¾Ê°í¼­´Â ¾ÓÅõ¿Ï ¹ÙÅä°¡ ¿Ö dz°æ ¼Ó¿¡ Ư¼öÃþÀÇ ¾ßÀ¯È¸±×¸²À» ±×·È´ÂÁö¸¦ ÀÌÇØ ÇÒ ¼ö ¾ø´Ù.


³ë¶ûÀå¹Ì (06F06-6) 40.9 x 31.8cm 2006



Çعٶó±â II 37.9 x 45.5cm 1998
  ÀÌ·± ½Ã°¢À¸·Î º¸¾Æ¾ß ¿ì¸®´Â ¿ÀÀ¯È­(çïê÷ûú)ÀÇ ÀÛÇ° ¡®ÆòÈ­(øÁûú)¡¯°¡ ¹«¾ùÀ» ¸»ÇÏ·Á°í ÇÏ´ÂÁö¸¦ °¨»óÇÒ ¼ö ÀÖ°Ô µÈ´Ù. ½£Àº ´Ù»ê°ú º¹À» °¡Á®´ÙÁشٴ ¹Î°£½Å¾Ó°ú ¶¼¾î¼­ »ý°¢ÇÒ ¼ö°¡ ¾ø±â ¶§¹®ÀÌ´Ù.
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¿ÀÀ¯È­ÀÇ ±×¸² ¼Ø¾¾´Â ÀÏ·ÃÀÇ ²É±×¸²¿¡¼­ ±× Áø¼ö°¡ µå·¯³­´Ù. ²É±×¸²Àº »ç±ºÀÚÈ­°¡ »ê¼öÈ­¿Í º°°³°¡ ¾Æ´ÏµíÀÌ Ç³°æÈ­³ª Á¤¹°È­¿Í ¿¬°èµÇ´Â ÁÖÁ¦¶ó°í ÇÒ ¼ö ÀÖ´Ù. ±×·± Àǹ̿¡¼­ ¿ÀÀ¯È­ÀÇ ²É±×¸²Àº ÃÖ±Ù¿¡ ¹ßÇ¥µÇ´Â <Àå»ý½Ã¸®Áî>¿Í ¹ÐÁ¢ÇÑ °ü·ÃÀÌ ÀÖ´Ù°í ¸» ÇÒ ¼ö ÀÖÀ» °ÍÀÌ´Ù. ±×·¯´Ï±î ÀÌ È­°¡¿¡°Ô À־ ²É±×¸²Àº dz°æÈ­¸¦ ¿ì¸®´Ù¿î Ç¥Çö¾ç½ÄÀ¸·Î ÀüȯÇÏ´Â ÇÑ °úÁ¤À̶ó°í ÇÒ ¼ö ÀÖ´Ù.


ÆòÈ­ 162.x 130.3cm 2001


¿Ö³ÄÇÏ¸é ²ÉÀº µ¿¼­¾çÀÌ °øÈ÷ »ç¶û, ÆòÈ­, Èñ¸Á, ±×¸®°í Á¾±³ÀûÀÎ ÀǹÌÀÇ ±¸¿øÀ̳ª ºÎÈ°À» ÀǹÌÇÏ´Â »ó¡±âÈ£À̱⠶§¹®ÀÌ´Ù. ¿ÀÀ¯È­´Â ±×°¡ °¡Àå Àڽۨ ÀÖ´Ù°í ¿©±â´Â ²É±×¸²À» ÅëÇØ ¼­±¸Ã¼ÁúÀÇ Ç³°æÈ­¸¦ ¿ì¸®´Ù¿î dz°æÈ­·Î ¸¸µé·Á´Â °ÍÀÌ´Ù. ²É±×¸²Àº ±× ¸ñÀûÀ» À§ÇÑ ¸Å°³ÀÚ°¡ µÈ´Ù°í ¸» ÇÒ ¼ö ÀÖ´Ù. ºÐ¸íÈ÷ ÇÑ ÆøÀÇ ÀÚ¿¬Ç³°æÀº »ê, ±¸¸§, ¾ð´ö, ³ª¹«, ¹°, ¹ÙÀ§¿Í °°Àº ÀÚ¿¬ ¿ä¼Ò°¡ ±× ¼ÒÀç°¡ µÇ¾î¾ß ÇÑ´Ù. ¿¬±Ø¿¡ ºñÀ¯ÇÏÀÚ¸é À̵é dz°æÀº ¹«´ëÀåÄ¡ÀÌ¸ç µû¶ó¼­ ²ÉÀº ±× ¹«´ë°¡ º¸¿©ÁÖ´Â ÁÖÀΰøÀÎ ¼ÀÀÌ´Ù. ƯÈ÷ ¿ì¸®ÀÇ »ç±ºÀÚ´Â ±×·¸°Ô ¸»ÇÒ ¼ö ÀÖ´Ù. ³¶¸¸ÁÖÀÇ ½Ã´ëÀÇ Ç³°æÈ­°¡ ±ÍÁ·ÀûÀÎ ½Ã¹ÎÀ» ÁÖÀΰøÀ¸·Î µîÀå½ÃÄ×´Ù¸é ¿ÀÀ¯È­´Â <ÆòÈ­>¸¦ Áö³ª¼­ ÀÚ¿¬ ±× ÀÚü¸¦ ÁÖÀΰøÀ¸·Î ¸¸µé°í ÀÖ´Ù. ±×ÀÇ <Àå»ý ½Ã¸®Áî>°¡ ±×·¸´Ù. µû¶ó¼­ ±×ÀÇ ½ÊÀå»ý½Ã¸®Áî¿¡´Â ÇÐ(ùÍ)À̳ª ³ë·ç, »ç½¿°ú °°Àº ÀÚ¿¬ÀÌ ¹Ù·Î Àΰ£À» ´ë½ÅÇÏ´Â ÁÖÀΰøµéÀÌ´Ù. ¶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 ¼ø¼öÇÑ ÀÚ¿¬ ±× ÀÚü°¡ ÁÖÀΰøÀÌ µÇ´Â ³«¿øÀÌ´Ù. 14¼¼±â ¶§ÀÇ À¯¸íÇÑ ÇÐÀÚÀÎ ÀÌ»ö(ì°ßâ)Àº ±×ÀÇ ¼¼È­½ÊÀå»ý(á¨ûþä¨íþßæ)À̶ó´Â ½Ã¿¡¼­ ½ÊÀå»ýÀ» ´ÙÀ½°ú °°ÀÌ À¼¾ú´Ù.


ÇѺ¹¿©ÀÎ 97 x 145.5cm 1987

 

»çö Ǫ¸¥ ¼Ò³ª¹«´Â ½Å¼±ÀÇ ¸ð½ÀÀÌ¿ä, ²à²àÀÌ ÀÚ¶ó´Â ´ë³ª¹«´Â ¼±ºñÀÇ ÁöÁ¶ÀÌ´Ù.
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½ÊÀå»ýµµ°¡ ¿ì¸®ÀÇ µ¶ÀÚÀûÀÎ ³«¿ø»ç»óÀÇ Ç¥ÇöÀÓÀ» ¾Ë ¼ö ÀÖ´Ù. ¹«´ë¿Í ÁÖÀΰøÀÌ ºÐ¸®µÇÁö ¾Ê°í ±× ¸ðµÎ°¡ ÇϳªÀÇ ³«¿øÀÇ °¡Á·ÀÌ´Ù. ÇØ¿Í ´Þ, ±¸¸§, »ê, ¹°, ¹ÙÀ§, ¼Ò³ª¹«, »ç½¿, ÇÐ, ºÒ·ÎÃÊ´Â ¸¶Ä¡ °¡¸é¹«µµÈ¸ÀÇ °¡¸éó·³ ±âÇ¥¸¸ ´Ù¸¦ »Ó ±× ¼Ó³»´Â ¸ðµÎ°¡ ¹«µµÈ¸¿¡ ÃÊûµÈ °°Àº ȸ¿øÀÎ ¼ÀÀÌ´Ù. ¿ì¸®´Â ¿©±â¿¡¼­ ¿ì¸®ÀÇ ½ÊÀå»ýÀÇ ¼¼°è°¡ ¾Ç°ú ¼±ÀÌ ±¸º°µÇ´Â ¿¡µ§µ¿»êÀÇ ³«¿ø°ú ´Ù¸£´Ù´Â »ç½ÇÀ» È®ÀÎÇÒ ¼ö ÀÖ´Ù. ¿¡µ§¿¡´Â ¼±ÇÑ ¾Æ´ã°ú À̺긦 Á˾ÇÀ¸·Î À¯È¤ÇÏ´Â »ç¾ÇÇÑ ¹ìÀÌ µîÀåÇÏ´Â °Íµµ ±×·¸´Ù. ¿ÀÀ¯È­ÀÇ <Àå»ý½Ã¸®Áî>¿¡¼­ Èï¹Ì·Î¿î °ÍÀº °ÅºÏÀÌ°¡ ¹ÙÀ§³ª µ¹ÀÇ ÇüÅ·Π󸮵ȴٴ »ç½ÇÀÌ´Ù. ±×ÀÇ ÇÐÀº ÀÌ»öÀÇ ½Ã¿¡¼­Ã³·³ °øÁß¿¡¼­ ³¯¾Æµé±âµµ ½Ã¿øÇÏ°Ô È帣´Â ³Á°¡¿¡ ¿Ë±âÁ¾±â ¸ð¿© Àֱ⵵ ÇÑ´Ù. »ç½¿Àº ¸¶Ä¡ ±×³× ŸµíÀÌ ÀÌ ¹ÙÀ§¿¡¼­ Àú ¹ÙÀ§¸¦ ¿Å°Ü °¡±âµµ ÇÏ°í ¹°°¡¿¡¼­ ¾îÁ¤´ë±âµµ ÇÑ´Ù. ±ÙÀÚ¿¡ À̸£·¯ È­°¡ÀÇ Àå»ý ½Ã¸®Áî¿¡ º¯È­°¡ ÀÖ¾ú´Ù.


´©µå I 53 x 72.7cm 1999


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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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