Gallery Sun Contemporary is pleased to announce the exhibition of new works by Yujin Kang who is a rising young Korean artist. This exhibition is her 8th solo show with over 12 latest new works.
Yujin Gang has been reproducing urban spectacles, pools, or the appearance of galleries on the 2-dimensional canvas, and the characteristics of her works can be described by the brilliance of primary colors, spectacular scene, intense energy from scattered paint, and the artificial sense of the enamel, the industrial paint. In her work, she incorporates the process of photographing the scenes she experienced, making enlarged copies of them, and transcribing them in order to communicate her feelings to viewers in an objective way. This process disassembles and overlaps images, but she does not distort them extremely for it is how she communicates the feelings she had to others in an objective way than the images she builds as a consequence that matters her.
Gang started using enamel from 2000. She inclined to delve into the properties of enamel and pictorial elements such as point, line, and plane and devoted to the elements that she could only obtain through paintings only after she began to study in London in 2005. For example, she disassembled or reproduced images in a perspective drawing and overlapped drippings on them to emphasize that the 3-dimensional sense of space was actually created on the 2-dimensional surface while revealing the fact that the perspective drawing is one of pictorial techniques. Also by combining the cold abstract color planes with the hot abstract dripping in the same scene, she expanded the energy on the surface. The artist gives enormous energy to the scene filling up every corner of it through the combination of 3-dimensional space and 2-dimensional plane and the refined space represented by art gallery and the primitive object represented by the meat loaf, and the balance and confrontation of these contrasting elements.
Although the works in this exhibition are the continuation of previous works, they do show traces of changes in details. The three pieces she produced while participating in the Artist Residency Program of 2008 Emerging Art Seoul-Berlin; Pool with Yellow, Way to the Pool, and The Rolling Pool, exhibited at the end of last year showed less use of primary colors but more of medium colors and the less linear division of the scene, and also in the works in this exhibition she employed calm medium colors and emphasized the dripping running on the surface of the canvas as if the rain on window to give energy to the painting and enhanced unity as a single painting by lessening the division. Especially, the lines became more impromptu and free added dynamics on the surface and this type of trend is salient in the work that depicted La Sagrada Familia of Spain.
The conversion from controlled brush strokes and color planes of previous works into stronger expressive elements must be the result from improvisatory rendering of the artist’s emotions following artist’s intuition to express the feelings she had at each moment based on the memory of spaces she experienced directly since the trip to Spain. She artificially selected materials and intentionally used them in the previous works whereas she depicted the materials she experienced in a more impressionist angle in this exhibition works.
The spatial composition also draws attention, and the works in this exhibition hold the tension as they turn the line of sight without dividing inner and outer spaces and connect a number of scenes viewed in multiple angles to connect the light of sight within the rectangular frame. In other words, they reorganized the scenes viewed from various angles such as the view from top to bottom, and vice versa, to guide the movement of sight and created a new space of multiple viewpoints to establish a circulating composition through the movement of sight. The composition with circulative viewpoint seems to be the traces of efforts to respond to criticisms that the linear division of colors and planes that used to be exhibited in previous works can be more or less desultory, and it actually enhanced the unity of the scene.
This exhibition will be a chance to see gradual changes in Gang’s work in terms of reproduction method or the visual angle on objects
Yujin Gang has been reproducing urban spectacles, pools, or the appearance of galleries on the 2-dimensional canvas, and the characteristics of her works can be described by the brilliance of primary colors, spectacular scene, intense energy from scattered paint, and the artificial sense of the enamel, the industrial paint. In her work, she incorporates the process of photographing the scenes she experienced, making enlarged copies of them, and transcribing them in order to communicate her feelings to viewers in an objective way. This process disassembles and overlaps images, but she does not distort them extremely for it is how she communicates the feelings she had to others in an objective way than the images she builds as a consequence that matters her.
Gang started using enamel from 2000. She inclined to delve into the properties of enamel and pictorial elements such as point, line, and plane and devoted to the elements that she could only obtain through paintings only after she began to study in London in 2005. For example, she disassembled or reproduced images in a perspective drawing and overlapped drippings on them to emphasize that the 3-dimensional sense of space was actually created on the 2-dimensional surface while revealing the fact that the perspective drawing is one of pictorial techniques. Also by combining the cold abstract color planes with the hot abstract dripping in the same scene, she expanded the energy on the surface. The artist gives enormous energy to the scene filling up every corner of it through the combination of 3-dimensional space and 2-dimensional plane and the refined space represented by art gallery and the primitive object represented by the meat loaf, and the balance and confrontation of these contrasting elements.
Although the works in this exhibition are the continuation of previous works, they do show traces of changes in details. The three pieces she produced while participating in the Artist Residency Program of 2008 Emerging Art Seoul-Berlin; Pool with Yellow, Way to the Pool, and The Rolling Pool, exhibited at the end of last year showed less use of primary colors but more of medium colors and the less linear division of the scene, and also in the works in this exhibition she employed calm medium colors and emphasized the dripping running on the surface of the canvas as if the rain on window to give energy to the painting and enhanced unity as a single painting by lessening the division. Especially, the lines became more impromptu and free added dynamics on the surface and this type of trend is salient in the work that depicted La Sagrada Familia of Spain.
The conversion from controlled brush strokes and color planes of previous works into stronger expressive elements must be the result from improvisatory rendering of the artist’s emotions following artist’s intuition to express the feelings she had at each moment based on the memory of spaces she experienced directly since the trip to Spain. She artificially selected materials and intentionally used them in the previous works whereas she depicted the materials she experienced in a more impressionist angle in this exhibition works.
The spatial composition also draws attention, and the works in this exhibition hold the tension as they turn the line of sight without dividing inner and outer spaces and connect a number of scenes viewed in multiple angles to connect the light of sight within the rectangular frame. In other words, they reorganized the scenes viewed from various angles such as the view from top to bottom, and vice versa, to guide the movement of sight and created a new space of multiple viewpoints to establish a circulating composition through the movement of sight. The composition with circulative viewpoint seems to be the traces of efforts to respond to criticisms that the linear division of colors and planes that used to be exhibited in previous works can be more or less desultory, and it actually enhanced the unity of the scene.
This exhibition will be a chance to see gradual changes in Gang’s work in terms of reproduction method or the visual angle on objects
