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Untitled Document
COVER ARTIST
Àü¿µ¼÷
Jun, Young Sook
2007. 8. 29 - 9. 7
Gallery HOO
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A Competent Leader in the area of hills
& water,
figures and pavilion
Written by Kim, Nam-Soo / Art Critic
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The artistic
activity is to express the complete art work having its base on the subject
and thought, and idealism and creation. If any prerequisites should be added,
it would be a unique personalism and the idea of its own, avoiding the centerless
standardized mannerism. That is, the artist should be able to paint one¡¯s
own portrait. |
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The existentialism set up the four extreme situations,
which represent nobody couldn¡¯t be free from birth, disease, senility and
death. That¡¯s what intended by artistic activity. It¡¯s being helpless because
the work contains creator¡¯s idea with a complete subject and thought in
its contents. |
¾Ï¼Àç 94 x 74cm
´ëÇпø Á¹¾÷¶§ (1997)
Second, the work of art must be aesthetic, impressive
and eternal. We call it masterpiece when it satisfies such prerequisites,
and then the question is whether to complete such conditions. We have
seen so many painters who have spent their whole life for the works, but
failed to give shape to their long-cherished dream. Unfortunately, only
a very few people would be lucky enough to achieve such a goal in the
history.
Everyone was given the possibility, potential
and opportunity of becoming a great painter whose name will be remembered
by the people in the future. The preconditions aforementioned were all
within the reach of the human. I, for a quarter of a century, have witnessed
the works of Jun Young-sook, who is the elite in her 40s in the field
of Korean painting.
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She, in the days in her aspiring 20s went
to Taiwan alone in the hope to find the source of the Oriental painting.
Though she wanted to fly to Chinese mainland but the sensitive political
situation at the time led her to studying the fine art at National Taiwan
Normal University, majoring Oriental painting. At the graduate school
of the same university, she earned master¡¯s degree with the thesis, titled
¡°Tunhuang Mural Painting¡± Her academic passion, coupled with her in-depth
¼Ò±Ý° Ãдë¹ÙÀ§ 142 x 162cm
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¿î¸²»ê¹æ 139 x 70cm
knowledge and practical ability,
made it possible for her to being infatuated with the art work. Such a professionalism
as an artist led her to becoming passionate painter today.
Having won a grand prize at college fine art festival
in Taiwan, her 12-year career in Taiwan was highly evaluated. She, for years
after graduated from the university, had visited her teacher to attend the
lecture for a week every month, maintaining a close relationship with her
college teacher. I will say she was a born artist, who keeps going her way
like a seeker after truth. She recalled the time when she returned from
Taiwan, saying ¡°I was eager to describe our colors, which I always feel
free and warm like mother¡¯s bosom, our own nature and image, and the deep
emotion, which forced me into coming back home. I will devote myself to
do my job of revealing the word in the picture and sharing the love, putting
myself down on the floor.
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Yoecung¡¯s world
in her works
She travels, in fact, a broad territory of her own
with her works in the pattern, the way of expression, various subjects and
mediation as a means of describing the work and to the material. All the
activities, no question, are in need of huge efforts and study before reaching
to the final destination, but her attitude free as a wind, denying the standardized
practice, that enjoys the aesthetic of the freedom and express whatever
will be given is positively evaluated and accommodated. Among the area she
has been concentrating on are Korean landscape, portrait and village school
in Joseon Dynansty, in which the scholars used to teach the students or
share the thoughts, shrines or pavilions in the nature across the nation,
which well represent painter¡¯s in-depth professionalism, setting an example
for many artists in the painting circles. Viewing some examples, she is
free from the boundaries that define the |
¼Ò±Ý° ¸ô¿î´ë 321 x 100cm
¾Ï¼Àç 264 x 94cm
êÅ׺Üç 46 x 120cm
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traditional and contemporary arts, and abstract
and plastic arts, and in terms of material, thin coloring black-and-white
and the mix, and in the subject, landscape (scenery), figure, Buddhist
image, Jangsengdo and pavilion. Her works search a comprehensive and deep
territory. Should her territory keep staying at a certain field, further
development could hardly be expected, but to be trapped with the mannerism.
In her work, a very distinctive subject is given and her idea, feeling
and emotional vibration and image are added as explanation. That is, her
conviction as the author is always unique. She sometimes uses mental image
technique from abstract drawing or describes the work with extremely fine
and delicate approach (Chinese Gongpilhwa) The imageable picture technique
she often uses in her work can be comparable with the Impressionism in
Western art.
In her homepage, The Cyber Art Gallery (Koreapainting.net),
she introduced 200 works. Introducing some of them here, <Seebaji>
or surrogate mother employed a Gongpil drawing technique with a extremely
fine drawing technique. Expressing lively the Korean women¡¯s patience
and obedience and sorrow, we can see the author¡¯s excellent expression.
Employing the silk instead of drawing paper, the expression of woman¡¯s
skin and the hem of a skirt, and a loosing long and thick black hair in
contrast attain the highest perfection. Particularly, the way of creating
an antique atmosphere with the cursive characters written on wall or an
empty hand-lantern to describe the mother staying all night for sewing
well represent author¡¯s emotional self-portrait. And the work, Jeonggak
or Enlightment, which earned the grand prize at Korean Fine Art Exhibition,
expressed Buddhist spirit. The Buddha and Buddhist images doing a great
deal of thinking to seek the truth are regarded the most beautiful symbols
in the world. We also can see the glimpse of the author¡¯s personality
here.
A Prayer selected as the best work at the same
exhibition is what containing the scenery around the traditional village
shrine with the shamanism in the background. A pole (signifying prayer
for good harvest) in the village entrance, the idea of come with empty
hands and gone with empty hands, a pair of the ankle of a soak implying
the vanity of life, thimble symbolizing women¡¯s faithfulness and virtue
and colorful bands, which symbolized the ancient Korean¡¯s shamanism, are
well incorporated into the work.
Black-and-white drawings represented by <a
mountain temple in winter>, <deep blue, a summer scene>, <autumn
scene>, <autumn at Daeheung temple> well described the
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ÃÊ°£Á¤ 266 x 93cm
scenery. And as Buddhist paintings,
it includes <ecstasy>, <novice around the window>, <mild
nature>, <Buddha¡¯s merciful heart>, <legendary>, <feeling>,
which implies author¡¯s character in metaphor. A desire and prayer of the
author ass faithful Buddhist is breathing in her works.
Viewing the work, <pavilion>, she has been
concentrating on, she traveled and visited more than 100 pavilions including
those categorized into nation¡¯s cultural property throughout the nation
for 4 to 5 years since 2002, or visit the site once a month on average to
finish the works more than 50. In the exhibition scheduled at Gallery HOO,
a few of them sized around 200 will be introduced because of the limit in
space at the gallery. Pavilion used to be used as
resting place for the scholars or the village school or shrine as the lounge
for the nobilities. The author, in an effort to maintain the record of such
cultural assets or art works which the people is getting forget,
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searched the properties. Included in the famous
pavilions nationwide are Manhyujung, Gosanhung, Andong Samsanjung, Choganjung,
Yakgyejung, Yongamhung, Baekwoonjung, Seonmongdae, Namamjung, Gwangpoongjung,
and Yokganjung, which are mostly designated as nation¡¯s cultural asset and
located at Andong and Yechun in North Gyungsang Province. Those who built
the pavilions are scholars who passed the state examination but declined
to work at the government offices as ranking officials, and some of them
devoted themselves to teaching the children, who became the prime minister.
Besides, pavilions include Sungamjung (Bonghwa), Booyongjung (beewon), Choganjung
(Yechun), Amseoje (Whayang), Woonjoru (near Seonjun Riverside), Soswewon
(Damyang), Wonryubong (Whanggan) and Geonyunjung (Gyungnam). She is so passionate
to travel around all the places to see them. |
á¡ô» 177 x 96cm
´ëÇнÃÀý ´ë¸¸ ÀÌ¿±»ó ¼¿¹°¡²² »ç»çÇÒ ¶§
She stressed the thorough sketch in completing
the works, making use of Gongpil drawing technique she learned in China
in describing the figures. A skillful arrangement of India ink and thin
coloring technique, coupled with spatial division and layout, appeared
to be highly effective, indicating her great potential and possibility
as an artist.
Conclusion
Yeochung, Jun Young-sook began searing the origin
of oriental painting in her 20s to realize the spirit of Korean art work,
which led her to studying in Taiwan to pave the way for achieving the
goal, which still continues to date. She says the art should aim at materializing
the humanism and the best |
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´ëÇпø Á¹¾÷¹ßÇ¥Àü¶§ Áöµµ±³¼ö´Ô°ú ÇÔ²² (1997)
prayer and wish is to accomplish the happiness and peace. She emphasizes
the need for upgrading the Korean Fine Art a notch in international community
to put our fine art on global level, thereby pursuing the truth through
the art .
Yeochung, Jun Young-sook was born in 1960 at
Mokpo. During her study in Taiwan, she received Master¡¯s Degree with the
thesis, titled ¡®The Study on Tunhuang Mural Painting in the era of Tang
Dynasty¡± at National Taiwan Normal University. After returned to Korea,
she won the grand prizes at Korean Fine Art Exhibition for three years
consequently and served as examiner at the same Exhibition. She has held
the invitational exhibitions on a several occasions and has played an
active part in the fine art circle as the artist in her 40s. |
Àå°î»ç 177 x 96cm
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æ®ôè îïçµâ× Jun,, Young Sook
• Àü³² ¸ñÆ÷ Ãâ»ý
• ±¹¸³ ´ë¸¸»ç¹üÇб³ ¹Ì¼ú°ú Á¹¾÷
• ±¹¸³ ´ë¸¸»ç¹üÇб³ ¿¹¼ú´ëÇпø Á¹¾÷ (¿¹¼úÇÐ ¼®»ç)
• 1998 ~ ´ëÇѹα¹ ¹Ì¼ú´ëÀü ÀÔ¼± 3ȸ
• 2000 ´ëÇѹα¹ ¹Ì¼ú´ëÀü Ư¼± 2ȸ
• 1997 °³ÀÎÀü ¡®ÙøúÅ. ÝÖæÞ. àÉѦ¡¯ °³ÃÖ
• 1997 °³ÀÎÀü ¡®óôÙøûþî÷¡¯ °³ÃÖ
• 2000 Áß±¹ Ç×ÁÖ ¼·ÉÀÎ»ç ±¹Á¦Àü°¢¼¹ý´ëÀü Ư¼±
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• 2002 Áøµµ¿µµîÃàÁ¦ °³ÀÎÃÊ´ëÀü °³ÃÖ
• 2002 îïÀϺ» ¹Ì¼ú´ëÀü ½É»çÀ§¿ø (µµÄì)
• 2002 21¼¼±â Çѱ¹È°¡ ÃÊ´ëÀü (¼º±Õ°ü´ë ¹Ì¼ú°ü)
• 2006 ´ëÇѹα¹ ¹Ì¼ú´ëÀü (ºñ±¸»óºÎ¹®) ½É»çÀ§¿ø ¿ªÀÓ
• 2001~ Çö´ëÇѱ¹ÈÇùȸÀü, ¼Ò»óȸÀü, ¹¬ÀüȸÀü, Çѱ¹¹ÌÇùÀü ¿Ü ÇÕµ¿Àü ¹× ±¹³»¿Ü ÃÊ´ëÀü 100¿©È¸
• 2007 °³ÀÎÀü ¡®ïÍí ñ«ð¹î÷¡¯ °³ÃÖ (°¶·¯¸® HOO)
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