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Dreams of Seoul; Once Upon A Time (1)

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The Large Hadron Collider at the European Organization for Nuclear Research (CERN) near Geneva, Switzerland, enters a new phase of operations Nov. 4. Scientists will stop running streams of protons through the machine and begin running lead atoms, stripped of their electrons, around the ring so that they smash into each other. ....

The record-setting energies available for heavy ion collisions at the Hadron collider will yield large numbers of rare and heavy particles, Cebra said. Those particles will be used to study quark-gluon plasma, which is what the universe was made of in the first instants after the big bang. Study of the particles will also help scientists understand how the plasma evolved into the kind of matter the universe is made of today. By measuring the tracks of the different particles produced in the quark-gluon plasma, the researchers will be able to learn about the plasma's properties and about the fundamental forces acting on the particles that travel through it, Cebra said.
Our understanding of the Universe is about to change... The Large Hadron Collider (LHC) is a gigantic scientific instrument near Geneva, where it spans the border between Switzerland and France about 100m underground. It is a particle accelerator used by physicists to study the smallest known particles 쭯 the fundamental building blocks of all things. It will revolutionise our understanding, from the minuscule world deep within atoms to the vastness of the Universe. Two beams of subatomic particles called "hadrons" 쭯 either protons or lead ions 쭯 travel in opposite directions inside the circular accelerator, gaining energy with every lap. Physicists use the LHC to recreate the conditions just after the Big Bang, by colliding the two beams head-on at very high energy. Teams of physicists from around the world then analyse the particles created in the collisions using special detectors in a number of experiments dedicated to the LHC. There are many theories as to what will result from these collisions. For decades, the Standard Model of particle physics has served physicists well as a means of understanding the fundamental laws of Nature, but it does not tell the whole story. Only experimental data using the high energies reached by the LHC can push knowledge forward, challenging those who seek confirmation of established knowledge, and those who dare to dream beyond the paradigm.


The Large Hadron Collider takes bunches of protons, accelerates them in opposite directions inside its giant ring,
and smashes them together -- ideally -- at the centers of these giant detectors.


November 27, 2011

Cutting Across the Grid: and the Nodes in Betweens:
(1)Between 2 dimension an 3D
(2)in betweens of Structures and Images
(3) Lights and Shadows.
(4)Languages and Beings
(5)Illusions and Realities

Dreams of Seoul; Once Upon A Time (I)






The Work of Kyu Nam Han
By Eleanor Heartney

Any westerner who has traveled in Asia and been privileged to encounter the mountains through veils of fog
will immediately be struck by the sense that nature is imitating art.
Forms dissolve into the mist and bits of black branches break like quick strokes of black ink through the haze.
At such moments, one is struck by the fact
traditional Asian landscape painting is in its own way as true to visual experience
as the far more labored modes of Western one point perspective,
chiaroscuro and "scientific" clarity.
All of which goes to demonstrate that
seeing is as much a matter of the mind as the eye.


[.......Even though different cultures are sometimes contradictory and incompatible,
the more this is true, the more I find myself challenged to discover
the common ground between the two, and the specific points in which the two extremes meet and become indistinguishable from each other.
I think that this middle ground is ultimately the space in which two cultures that are seemingly at odds can come together peacefully,
face to face, and there see reflections of themselves in the other,
thereby mollifying conflicts that had arisen and had been solidified and amplified as a result of perceived, irreconcilable differences....]


The following statements need to be reexamined when he says:
'I have several fundamental principles in the way of demonstrating Perspective on my painting:

(1) The Western linear perspective that Renaissance artists developed;
(2)Eastern isometric perspective method that Hindu-Buddhist artists developed; and
(3)Chiriascuro— the Gradation techniques of the Far Eastern Folk and
(4) The Western Modern, abstract painters way of handlings of space
(5) Caligraphic principles.


Eleanor Heartney writes;
"In Han's hands, the mark remains full of essential meaning.
It suggests form, but does not separate form from its antithesis.
As a result, Han's paintings of New York City have a mysteriously dematerialized quality.

One views scenes of city streets or towering skylines
as if through a heavy mist in which buildings, cars and streets are just suggested by masses of shadow and light.

With these works he has, in effect, taken the principles of Asian landscape painting
and imported them into the most western of subject matters.





Han recalls a day in his school career which marked a turning point in his thinking.
Frustrated with his art work and his progress as a student,
he took his brushes and cut them up,
intending to discard them forever.
Instead he found himself experimenting with the denuded brushes.

This lead him to a new approach which focused on the application of abbreviated marks rather than expressionist brush strokes.
In the years since, Han has continued to pursue a variety of unconventional approaches to painting.
His ongoing aim is to bring together the supposedly antithetical histories of western and asian art.
In the process he reveals the varieties of pictorial space which painting is capable of creating.

Han's early explorations with structure took a variety of forms.
He broke color down into small geometric forms - circles, squares, triangles, hexagons and the like.
Sometimes he filled circles with dots, leading to vivid compositions which seemed almost to vibrate across the canvas.
Some of these paintings were completely abstract.
They were built up of small geometric elements which shimmered from a distance like mosaics.
Neither flat or conventionally illusionistic,
they suggested a strangely pulsating space which was simultaneously eastern and western.

United Visual Artists: Canopy + Connection from inkblot media on Vimeo.

KyuNam HAN(1983-1984),'Old Palace', Rag Hanji Paper Works Mounted on Canvas, 6 Feet x 32 Feet

Patchem Shinn

Pen Name of Mrs. Ford, Metropolitan Museum

Whenever one encounters the intensely crafted works of the Korean artist KyuNam Han,
there is immediate engagement.
It may be only passing curiosity at the discovery of a monochrome panorama on a folding screen
at the left of the plaza entrance to #2 Blue Hill Plaza.
Or, when entering at the lower level arrested by series of smaller more colorful canvases,
drawn in by tactile surfaces in harmonious colors
that present exotic scenes as well as
more familiar sights of metropolitan area skylines.
Less casual visitors will note that
these sumptuous surfaces comprise the current exhibition of the Blue Hill Culture Center's ongoing program
focused on works by contemporary artists and venture a closer look.
Those fortunate spirits will be drawn into myriad delights.

In the large folding screen, Old Palace,
the eye wanders among hills and dales of a timeless landscape.
Though exotic at first it is filled with charming vignettes
depicting activities that elicit memories of country walks,
hikes in the mountains,
or childhood perceptions of the sights and sounds of nature
those who recognize the refined traditions of East Asian landscape painting might marvel
at the expert handling of brush and ink
that draws the eye on a journey
from a riverside village at right
to the imposing walls that enclose a palace
and its surrounding city.
Beyond this city, a vast space extends across the sea toward an unseen horizon.
Elaborate halls and dwellings seem to reach toward the heavens,
as though vying for the light of an eternal sun or (and?) moon.

Its phrases resonate Neo-Confucian notions of man's place in nature
and the experience of the artist as expressed by one of east Asia's most revered heroes Su Shih(1037-1101).

꾌쁎랍�o Movement taken to its ultimate becomes tranquility
�o랍�� Quiet turns to activity,

�o쁎뤞꾌 Ultimate [Action of the void in betweens] creates movement.
寧꾌寧�o Action creates stillness.
빳젒샘몽 this is the root of all things

For KyuNam Han who adroitly adopts the style of the Northern Song literati
in his brushwork, Old Palace is a highly personal statement.
Its motifs and calligraphic brushwork represent
an intense encounter with tradition.
painted in 1979
when the path that led from his youth and early training seemed unclear,
Old Palace recalls his early life in Inchon,
the small town of his birth west of Seoul,
and his later move with his family to the capital.

Familiarly known by his pen name, Dongpo Su was a scholar official during the late Northern Sung period.
acclaimed for his accomplishments as poet, painter and calligrapher.
He served the court in tumultuous times,
and experienced both honor and disgrace, high office and exile.
His wisdom and integrity in public life,
his equanimity in good fortune as well as bad,
combined with his artistic cultivation have made him a prime exemplar of Confucian virtue
and scholarly attainment as well as a model of Buddhist detachment.
His prose writing and poetry have served as classic models for hundreds of generations.

Its motifs and calligraphic brushwork represent
an intense encounter with tradition.
painted in 1979
when the path that led from his youth and early training seemed unclear,
Old Palace recalls his early life in Inchon,
the small town of his birth west of Seoul,
and his later move with his family to the capital.

There he later studied Painting at Seoul National University.
At that time in the mid-sixties, the traditional art curriculum instituted
at the end of the Korean Civil War
had been supplanted along with its professors.
A new generation of teachers and students was grappling with
unfamiliar concepts and techniques of Western painting
from that of Renaissance masters through the Impressionists
to the efforts of contemporary artists then pursuing the limits of abstract expressionism.
Han, traditional in upbringing,
searching by temperament,
and aspiring to classic artistry completed his training in 1967.

<....> It was only when he moved on to Ohio State University for further study,
that his desire to delve the Asian tradition emerged.
Old Palace shows prodigious mastery of traditional brush and ink
and marks the culmination of his studio work and
a theory of art worked out in his master's thesis.
This study deals with nature of the dot and the line, brushwork
and composition as fundamental to painting.

Kyu Nam Han, 'Old Palace',Detail, (1983-1984),Rag Hanji Paper Works Mounted on Canvas, 6 Feet x 32 Feet


Traces of the artist's hand,
these elements inform his work in its various aspects and innovations.
Though his paintings can be lush in color,
exuberant in their kinetic execution,
sensuous in effect or lofty in their abstraction,
they are all composed according to basic components of line and brushstroke
and adapt the aesthetics of traditional calligraphy in new modes.


Han's most recent works focus largely on images of New York City.
With these works, he returns to his early calligraphic training, and focuses on the quality of line. <....>
However, Han's renewed interest in calligraphy has now been inflected by his long study of western art and western representation.
He notes that there is a basic difference between the use of line in eastern and western painting.
<....> In the former a linear mark is a thing in itself, used to express the essence of the objects and scenes which it represents.
By contrast, in classic western illusionism,
the line is principally an instrument of delineation,
which forms outlines and divides an object from the space which surrounds it.


He uses this as a template to compose works of various sizes on canvas and, less frequently, on silk or paper.
Lines are applied with a brush or incised through the pigments in a manner
akin to the inlaid decoration of the fabled celedons of the ancient Korean kingdom of Koryo(918-1392).
In subsequent stages, the surface might be built up in thickly applied pigments,
mottled with shadow and light,
smoothed or glazed,
gouged with a brush to redefine the image in intaglio.
or smoothed to a flat surface of color through which the underlying pattern can be recovered by tracing through it.
Each work begins with a particular combination of essential motifs.
Palace or village rooftops, trees and streams along a mountain path,
near and distant surfaces of earth and sea.
All reduced to a composition of individually drawn lines and brushstrokes.

Whether the expression in intimate and individual or grand in scale,
these works are rooted in the nature imagery of classic Chinese poetry.
They revealed the interdependent harmony of elemental forces
that is expounded in Daoist classics,
profound and simple words of the Heart Sutra.
These all proclaim the unity of opposites,
the identical nature of substance and void,
and the underlying oneness of nature and human life.
Han developed as an artist in a foreign land where he came to recognize his native roots.
Now at mid-life, with the tools of both Asian and European technique in hand, he strives to break through barriers of culture and artistic technique,
to capture the meaning of human experience
and to realize the potential of his art.


Mixing together two cultural conventions and traditions is not easy task for me.
There are truely something inexplicable elements in betweens.

Kyunam Han(1984), 'Dynasty', Oil on Canvas 6 x 8 Ft


Kyu nam han (1984), "Dynasty". 72 inch X 96inch, Oil on Canvas, Tenafly, New Jersey.


The Work of Kyu Nam Han


The disparity between classic Asian and Western modes of representation is more than a disparity between different optical experiences.
It also reflects different ways of thinking about reality and different ways of expressing the relationship
between mind and body, nature and human life, the interior and exterior world.
For one reared in Western culture, it seems natural to regard each partner in these pairings as distinct and often irreconcilable entities.
The mechanistic view of the universe articulated so forcefully by Descartes and Newton underlies our notion of science and demands such separations.
In keeping with this world view,
Western art from the Renaissance to the end of the last century
also embodied a longing for hard facts and objective knowledge,
keeping spirit and matter at a distance
as it searched for ever more accurate methods for the transcription of visual experience.


But in the 20th century, a new physics and a new art began to suggest something quite different.
Einstein's theory of relativity blurred long established distinctions between space and time,
while Quantum Mechanics suggested that under certain conditions it is impossible to distinguish between waves and particles.
Such conceptions seem to approach a more Asian view about the blending of opposites.
Similarly, Western art, moving through Impressionism and Cubism to Surrealism and Abstract Expressionism,
has also repudiated the strict division between subject and object which was the basis of Renaissance illusionism.
In the process Western Modernism has opened the way for new ways of thinking about visual reality.

Developments like these suggest that the moment is ripe for a rapprochement between Eastern and Western art.
Such a reconciliation of opposites has been the life long mission of Korean artist Kyu Nam Han.





In one hand 'line' is functioning as the means of the picture making ,
on the other it transforms into the form of hieroglyphic stance
diagonal, vertical, horizontal proximities
in which forms, images and figures are interacting in roles like characters in a play,
or in the way of symbols,
as monads, as the basic building blocks. ::
in transient state of: 'writing '(꿇뺱돨,뺱랬돨)caligraphy
starts to create a new steps;
the elements are gradually converging and transforming into the oneness of single totality:
to fuse metaphoric conceptual world into/with the meaning of picture world (뺱츚谿覩,都,禱),
As the bases of generative sources
when the picture elements of the painting incorporate with the underlying meaning of the general structures(뙌雷)
it presents as well as represents us a sense of resemblance of that object(近慨)prior to the encountering moment of the subject: Naturally, the 'state of being' of the 'artistic mind' comes as a result of
the relativities (츚雷,懃눠,拳,좐,獗,,宮)
(underlying intention of image making, state of mind, imagination, orderly manner of object, images of object, relative proximities of the line, and other given elements such as color, texture, rhythm, repetition,movement)
existing between means(츚�L,렘랬)and ends(폶벎, 雷뉲),
and, in the end,
are all in one
: (뉯휨寧�w, 憐�w묘콘, 寮와북寧,唐웣宮繫,힛�f膠)

KyuNam Han(2010)'Seoul Boogie Woogie', arylicon Canvas


a philosophical and critical movement, starting in the 1960s and esp. applied to the study of literature, that questions all traditional assumptions about the ability of language to represent reality and emphasizes that a text has no stable reference or identification because words essentially only refer to other words and therefore a reader must approach a text by eliminating any metaphysical or ethnocentric assumptions through an active role of defining meaning, sometimes by a reliance on new word construction, etymology, puns, and other word play.










Kyunam Han," The dot,its configuration and its Illusion" (1977),
Excerpts from MFA Thesis, The Ohio State University

The Nodes in Betweens:

The Convergence of Plastic Image and Acoustic languages:
The Structural and Molecular Compositions in my paintings;
A Synthesis of Opposites;
Deconstructioning and Reconstructing:
the Passages, Grids, Orbitals in lines,planes, membranes in the Spatio-temporal situation .

R. Cytowic, "Synesthesia: A Union of the Senses" Springer-Verlag, NY (p.1),
"Synesthesia is an involuntary joining in which the real information of one sense is accompanied by a perception in another sense. In addition to being involuntary, this additional perception is regarded by the synesthete as real, often outside the body, instead of imagined in the mind's eye. It also has some other interesting features that clearly separate it from artistic fancy or purple prose. Its reality and vividness are what make synesthesia so interesting in its violation of conventional perception. Synesthesia is also fascinating because logically it should not be a product of the human brain, where the evolutionary trend has been for increasing separation of function anatomically."

Photobucket Kyu Nam Han(1999), Central Park South, Acrylic on canvas, Tenafly, NJ Studio,

..."Synesthetic art historically refers to multi-sensory experiments in the genres of visual music, music visualization, audiovisual art, abstract film, and intermedia.[14][18][63][64][65][66] Distinct from neuroscience, the concept of synesthesia in the arts is regarded as the simultaneous perception of multiple stimuli in one gestalt experience.;[67]

Continuing essay is the following : Next 'Dreams of Seoul; Once Upon A Time II, 'below, (200)
점, 그 영상성과 상대적 실체성<BR><BR>

한규남(1972년 오하이오 주립 대학원 논문 Abstract 한글 번역<BR>

작품(作品) 속에서 나는 형사(形似)와 사의(寫意)를 구축전달(構築, 傳達)합니다 <BR>형식률(形式律)의 원천적(源泉的)인 미적 질서(美的秩序)를 자아내는 매개체(媒介體)로서 점을 사용합니다.<BR>이 점(點)은 관해서는 과거의 많은 작가들이 다루었습니다만은 <BR>
내 작품에 있어서는 아래와 같이 그 논리(論理)와 실기(實技) 면에서 이들과 다르다고 볼 수 있습니다.<BR><BR>

나는 1.서양화론(西洋畵論)에서 보이는 실체(實體), 배경(背景)의 이분법적 대비이론(二分法的 對比理論)을 중요하게 생각합니다 <BR>2.동양화론(東洋畵論)에서 보이는 주제(主題)와 여백의(餘白) 일원론적(一元論的) 상대이론도 존중합니다. 이 두이론을 합(合)하여 점을 사용합니다.<BR> 이들을 구성하는 선(線)의 개념(槪念)은 대체로 두가지로 분류됩니다. <BR>그 변형 (變形)또한 무한(無限)합니다.<BR><BR>
첫째, 연속(連續)된 직선(直線)(도표 1.3.5)과 <BR>끊어진 선(線)(도표 2.4.6)입니다.<BR> 전자(前者)의 경우는 구조체(構造體)의 골격(骨格)과 본질(本質)을 나타내는 점입니다. <BR>후자(後者)의 선은 의미전달 대상(意味傳達對象인 형체(形體)의 외곽선(外廓線)을 표현하기위한 가장자리의 역할을 합니다.<BR>
두번째의 해체(解體)된 선은 그 자체(自體)로서 충분한 조건을 가진 미적요소(美的要素)들입니다. 적시적소를 메타포들을 발현(發顯)하는 주체이며 실체입니다<BR> 앞의 1에 연속된 직선들은 이미지를 구성하는 종속적(從屬的)인 개념에 불과(不過)합니다. 표피적(表皮的)입니다.<BR> 2의 그룹은 해체되었습니다.<BR> 단일직선(單一直線)으로 구성된 형상이 아닙니다.<BR> 예를 들면 오리, 혹은 토끼(도면1) 같은 집적체(集積體)인 까닭에 복합성(複合性)과 다원성(多元性)을 띄고 있습니다.
또한 안/밖(內外), 주/객(主客), 단순함/복합성, 單純 複合 양면일체(兩面一體)의 모순 개념(矛盾槪念)은 역(逆)으로 그리고 변증법적(辯證法的)으로 끊임없이 반복(反復)되어 시간성을 함축(含蓄)하게 됩니다.
이 시간속에서 부분과 전체, 음/양(陰陽), 정/동(靜動) 등과 같은 양성일체의 모순은 위치, 구조, 이미지의 통합(統合)된 일체성 속에 다양한 운율(韻律)이
전개(展開)되는 것입니다.

이러한 과정(過程)은 해체(解體)되었기 때문 가능합니다. 동시일체성(同時一體) 그리고 이원일체성(二元一體) 속에 보이는 동의반복어적(同意反復語的)인 분산(分散)과 집적(集積) 속에서의 점(點)들의 모임은 개개(個個)의 작은 우주(宇宙)라고 볼 수 있습니다. 이 점은 여백(餘白)(허 虛)이 실체(實體)로 극대화되어가는 과정에서 반대로 실허(實虛)의 위상(位相)이 바뀌는 이른바 자기정립(自己正立)의 지속적인
부정(否定), 그리고 연속적인 자리바뀜의 관계에 서게 됩니다. 이는 이분법적(二分法的 )인 세계(도면 1.3.5)와는 다릅니다.

나는 또한 이상의 상(上), 하(下), 좌(左), 우(右), 종(縱), 횡(橫)의 관계와는 달리 주객의 극대(極大), 극소(極小)관계를 또한 화면 속으로 끌고 들어가기 위하여 점위에 또 점을 찍습니다.(도면 8.9) 이는 기운(氣韻,運)의 세계이며 시간과 에너지의 세계입니다. 이 해체적 골법을 사용하여야만 가능합니다.<BR>
이미지의 윤곽선이 해체되었으므로 의미(意味)는 상실하겠지만, 동의반복어적(同意反復語的)으로 되풀이 되면 이 형식요소(形式要素)들이 만들어내는 독특한 드라마 속에, 역시 이야기들을 꾸며낼 수 있을 것입니다.<BR>

11.11.21 삭제
오리와 토끼
1972년 도미 정규유학.서양과 서울을 오가며 양쪽을 반반 살았습니다.
동시에 나는 서구 추상 미술의 본질과 동양사상/미술이 어떻게 같고 다른가에 대하여 관심과 연구를 하기 시작했습니다.
두 세계는 예나 지금이나 항상 함께 있습니다. 공통점은 붓을 통하여 양문화는 존재해 왔다는 것입니다. 나는 붓을 사용하기를 좋아합니다.

어느 날, 1975년 대학원 재학시 나의 생각이 전환점을 갖게 되는 획기적인 사건이 벌어집니다.
학업과 창작활동에 슬럼프와 절망 상태에 이르러 나는 화구와 붓을 잘라버리고 쓰레기통에 버립니다.
다시는 그림을 그리지 않겠다는 마음이었지만 얼마 못가서 당시 잘라버린 붓으로 새로운 실험을 하고 있는 자신을 발견합니다.
<아래 '점'Dynasty'그림>
이 시점에서 나는 새로운 선의 개념이 있음을 깨닫습니다.
(도표 오리 토끼 그림 참조)
중요한 사실은 기나미에게 동 과 서의 차이점을 인식 시켰다는 점입니다.
서양의 표현주의자들에게 쓰이는 필치의 선이 아닌 동양 산 수 화가들이 사용하는 방식/개념의 '점'의 세계에 몰입됩니다(아래도표.오리 토끼).
그 이후로 자유로워 진 듯 했지만 부빌 언덕이 없는 동과 서의 사이에서 고민 했습니다.
줄곧 의도적으로 나의 고유한 회화의 문법과 관점을 찾아
나는 회화사에 보여주지 않았던 분야에 따라 새로운 방법으로 새로운 접근만을 시도해 왔습니다. 누구의 영향을 받지 않ㅇ은
나의 지속적이고 궁극적인 목적은 서양미술과 아시아 미술의 역사적 통합이 가능한 때이라고 확신시킬 수 있는는 구체적 실증적작품을 만드는 것입니다.
정통 회화가 정공법 즉 동양 산수화전통 과 서양의 유화전통을 50 + 50 %사용하여 만들어 낼 수 있는 다양한 회화적 공간이 무엇일가 계속 연구/추구햐여 왔고 지금도 그렇다고 생각합니다.

나의 초기작업은 다양한 형상들을 갖는 구조와 기하학적인 형태-원, 사각형, 삼각형, 육각형-로 쪼개면서
칼라의 세계를 분해하게 되는 시점인데 우선 여기에서부터 이야기를 할 가 합니다.

가끔 나는 원 속에 점을 모티브로 하여, 캔바스의 밖으로 전율하며 이어지는 생생한 추상작품을 구성합니다.(사계)
작은 기하학적인 요소로 구성되어 있고, 거리를 두고 보았을 때 모자이크처럼 보이나 이는
평면적인 것도 아니고 영상적인 것도 아니어서 동양화와 서양화의 양쪽 세계를 아우릅니다.
보이지 않는 그리드를 사용하던 .시기입니다

80년도 후반 나는 한국 풍경화에 입체파의 원리를 적용하기 시작했습니다.
한국 전통 가옥, 처마의 곡선, 문창등의 기본구조를 중간키의 색과 교차되고 ‘마제잠도‘의 서법적원리를 구사하는 선의 문양을 화면위에 분산시킵니다.

반대로 서구적 주제를 동양적 방식으로 역설적으로 접근하는데 관심을 갖게 됩니다.
나는 일련의 회화에서 동양 전통 산수에서 보여지는 신비스러운 안개의 처리법을 유화와 아크릴로 처리해왔습니다.
점, 획, 필치, 운필은 방대한 자연의 파노라마 속에 인간과 배경이 하나로 통일되는 세계를 만들려했습니다.
동양의 회화적 관점에서는 여백은 단지 개체의 이미지를 분리시키는 역할만이 아닌
화면 전체를 구성하며 개체와 공간, 실과 허를 동시에 관장하있는 점에 역점을 두었습니다.

저의 작품에서 자주 등용되는 테마는 '그리드'입니다. 이 '그리드'는 때로는 질서를 창출하고 때로는 무질서를 유도하는 두 가지 역할을 합니다.
이것은 추상과 구상을 동시에 함축하고 양쪽을 동시에 관여합니다.
때로 이 그리드는 의도적이고 적극적으로 이미지를 부수기도 하고, 확실하게 공간을 재구획하기도 합니다,
다른 작품 속에서는 표면의 선과 점으로써 온건하고 구별이 힘들 정도의 미세함과 합리/비합리의 세계를 보이기도 합니다.
한편으로 여러 개의 그리드를 동시다발 적으로 회전시킵니다,
질서 혹은 무질서의 그리드만으로 구성된 이미지들을 운율의 앙상불 조화효과를 오케스트라처럼 구성합니다.
빛, 색, 소리, 율동, 형상의 해체 통합 파급, 굴절 효과를 이루며 형식이 전혀 다른 미적 효과를 창출합니다..

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(視, 時, 詩)点
아울러 삼시점의 통합

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Excerpts from MFA Thesis," The dot,its configuration and its Illusion" (1977),Ohio State University

도면들 (Fig 1,처럼
형상성, 기표, 이미지가 해체되면
원래의 형상이 지시하는 의미의 내연(內緣), 외포(外包), 내포(內包), 외연(外延) 언어성도 동시에 소멸합니다.
문제를 야기하는 요소들이 직접적으로 없어집니다.
1과 2와 사이에 존재하는 1.002.. 1.004. 1.111..1.2005..침묵/에너지의 세계.
1 과 2 보다는 그 사이에 존재하는 수리적 세계가 더 크고 무한 할 수가 있습니다.
이것 하나하나의 위치를 '멤브레인'(Membrane)이라 한다면
1.000000001. 1.0000999999....X. Y. Z.. 또는 Random Sequence는 추적이 불가능 할 뿐만 아니라 무한세계와의 관계설정도 불가능 하게됩니다.
언어와 인식 경험 기존의 철학과 사유체제일체가 무의미하게 됩니다.
소통 불가능한 비논리적 세계에 접하게 됩니다.

[혼돈 불확실성 망설임끝에 오래전에 .. 그리고 이어서 생긴 또 달리 이어지는 불확실성..
연속의 사념이 언어로 대치되었을 뿐]

나의 그림은 실허의 수리적 관계를 항상 이야기 합니다.

이 안 밖의 다른점을 잘 연구하면 어떤점에서 실행의 관점이 같은 가 곧 형식관계(Formal Relation, 격식,Principles)를 알 수 있겠습니다.
공간/시간/질량/색/빛을 어떻게 다르게 취급했는가는 여백(Enclosure)을 어떻게 처리했는가를 보면 알 수 있습니다.

상태, 반(反),역(逆)의 Proximity, Figure/Ground, Structure/Image, 등등이론에서도 여백의 개념을 '육법이론'과 노장불교적 동양의 우주관/자연관과 같은 맥락에서 정의합니다.

허(虛, Empty Space.Emptiness, Nothing, Nothingness)란 무엇인가에 대하여 항상 생각합니다. :

(1)The concept of Figure Ground in physics, & Figure Void in painting:

실과 허, 형상 오리와 토끼속에서 점이 갖는 확실성/ 불확실성의 문제 입니다.
부조리의 세계 ...
즉 '불확실성 가운데의 확실성'(Certainty within Uncertainty)의 주제가 그것입니다.
도시풍경테마에 한동안 많이 같은 원리를 적용/시도하였습니다.
도시, 자동차, 말,집 을 주제속의 Deconstruction/Reconstruction 반복과정
'본질에 쉽게 그리기 위하여 그리고 그 언어성 실체성에 접근하기 위하여는 물성을 깨고 쌓습니다. ..
또 다른 면목 즉..
'다양한 Grid 속에서의 에너지와 기운의 율동의 세계'
'(1)선(2)색(3)음악성(4)소리(5) 빛 (6)침묵(7)여백'
구조와 이메지. 언어와 존재 사이에 존재하는
소리와 빛이 함께 율동하는 에너지의 세계를

서법과 상형의 세계로 연결 시키려 하고 있습니다
나는 그림을 그리면서 쓴다고봅니다. '다양한 Grid 속에서의 에너지와 기운의 율동의 세계' 들을 오케스트레이션을 합니다.

Selected Solo Exhibitions;

2006-2011. 2006년 이후 서울 에 근거를 둔 전업작가. 서울에서 작업하여 미국의 여러 옥숀 에 Anne French Fine Art를 통하 여 보냈습니다.
다른 곳과는 100% 전업 작가를 고수 하고 있습니다.
No Contract , No Teaching, No Job. ,No Exhibition ; Solely responsible :
해외 혹은 국내 옥숀,컬랙터들의 도움으로 작업중.
2003 Atelier International Art Group,
Inc., New York
The Korean Mission, New York
2002 Atelier International Art Group,
Inc., New York
2000 Michail Lombando Gallery, New
1999 Art Forum Gallery, New York
1998 Blue Hill Cultural Center
Ellen Kim Murphy Gallery, Seoul,
Old Church Cultural Center,
Demarest, NJ
1996 Mi Gallery, Seoul, Korea
1995 Hong Kong International Art
Exposition, Hong Kong
Walker Hill Art Center, Seoul,
1992 Yuna Gallery, Seoul, Korea
1991 Sun Gallery, Seoul, Korea
1990 Azart Gallery, Seattle WA
1988 Sun Gallery, Seoul, Korea
1984 John Harms Performing Center,
Englewood, New Jersey
1977 Hopkins Hall, Ohio State
University, Columbus, Ohio


L.H. Funk Foundation, Basel Switzerland
American Express Headquarters, New York NY
Supreme Court, Seoul, Korea
Samsung Corporation, Seoul, Korea
Hoam Museum, Seoul, Korea
Han Sol Corporation, Seoul, Korea
Doo San Corporation, Seoul, Korea
Sun Kyung Corporation, Seoul, Korea
Commercial Bank of Korea, New York
Han IL Bank, Seoul, Korea
Sung San Corporation, Oregon WA
Tristar Corporation, Seoul, Korea
Gana Art, Seoul, Korea
Selected Private Collections
Lee Hak Collection, Seoul, Korea
Lee Ho Jae Collection, Seoul, Korea
Park Chung Myong Collection, New York
Rhim Jong B. Collection, New York
Lee Yong Soon Collection, Seoul, Korea
Lee Hoon Young Collection, Seoul, Korea
Scott Rodman Collection, New York

Selected Group Exhibitions;

Kyu Nam Han
Miami, Hong Kong, New York Expo등 여러곳 수시로
Google Key Word: 영어권으로 들어가 찾으시면 됩니다.

1999 Art Expo Colone, Koln, Germany
1997 Korean Cultural Service
Invitation, Paris, France
1996 Korean Cultural Service, New
York NY
1991 Blue Hill Cultural Center, Pearl
River NY
Contemporary Art of Korea,
Museum of Modern Art, Mexico
City, Mexico
1989 Gallery International 57, New
1986 Thorpe Int. Gallery, New York
Korea-New York’86 12 Artists
from Metropolitan Area,
Sparkill, NY
1984 Two Person Show, Ye Gallery,
Seoul, Korea
1983 Contemporary Korean Painting &
Pottery, Sarah Lawrence College,
Bronxville NY
Korean Painting & Pottery, Old
Church Cultural Center, Demarest
New Jersey.
East West Institute for the Art 를 Michael Zakin 교수와 공동대표. 한국예술학 연구: 전시 필름.Documentation등등. 계속작업하여 왔습. 현재까지 한국에 머물며 회화. 색, 종이, 도자기에 관하여 계속 연구하고 있으며 주전공인 회화철학 서예분야와 이론과 실기라는 점에서 접목을 시도하고있습니다. 동서의 교두보 확립을 작품과 현실세계에 동시에 구현하려함.

1981 Walker Hill Art Center. Seoul

1978-’80 Two Person Exhibition, Hankook
Gallery NY
1978 National Invitational Exhibition
USA, New York
State University Gallery, New
Paltz, NY


서울고등학교(1963), 서울 대 미대 서양화과(1967), 오하이오 주립대학교 MFA(1977), Stage Design 수료, Painting 졸업.
Joseph Brown(Joe Brown)Sculpture Studio. Rocky Hill New Jersey에서 청동조각, Wax Casting, Block/ Case making을 보조.

Tenafly 81 Hudson Avenue,New Jersey (1981-2006) 홍천, 관산동, 일산,서울 잠실,벽제,강남스튜디오,건대,장위동, 동가숙 서가식.
뉴욕 과 서울을 사이에 두고 一動一靜, 이쪽 저쪽을 오가며 작업을 하였습니다.
46-23 Crane St. #212 (1995-2010)은 나의 본적. 뉴져지화실은 공중 분해 두고 한국으로 자의반 타의반 회권토중래 회기.
최분자와 제한돤 2인전 전시, 10여차레가 넘는 2인전. 서울과 뉴욕사이에서 전시

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New York Foundation for the Arts
LMCC Workspace applications now online! http://www.lmcc.net/residencies/workspace/apply/
/> Lower Manhattan Cultural Council - Artist Residencies - Workspace - Apply
Applicants must submit the Online Application Form and Work Samples by the deadline to be considered. Late and incomplete applications are not considered...

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<iframe width="640" height="480" src="http://www.youtube.com/embed/UnyJvCJrRys" frameborder="0" allowfullscreen></iframe>

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[ 총게시물 : 233 | page : 10 ]
[ 정렬조건 : 날짜 | 조회  ]
순번(No) 제목(Subject) 작성자(Name) 조회(Hit) 파일(Data) 등록일(Date)
209   The Westchester County ,Blue Hill Art Cent ^Q^   7411 12/08/06
208   Skylines and Rooftiles of Seoul and New ^Q^   5507 12/08/14
207   The New Rochelle Paintings : What a way ^Q^   7858 12/11/17
206   Memorial Day Weekend 2012 ^Q^   8378 12/07/04
205   Korean American Foundation USA, MiddleTown ^Q^   8155 12/08/07
204   New Rochelle , Brooklyn , in Betweens ^Q^   5659 12/03/08
203   Manhattan, Miami, Seoul ^Q^   6002 12/07/22
202   Wetchester New Rochelle ^Q^   5546 12/07/04
201   Up to Palm Beach : Seoul, and New York: th ^Q^   6610 14/12/31
200   A Synthesis of Opposites: De/Reconstruct ^Q^   5484 14/06/21
199   Dreams of New York, 2012 (IV) [3] ^Q^   13477 14/06/16
198   Dreams of New York ,2011(III) [1] ^Q^   7264 12/07/20
197   Dreams of Seoul; Once Upon A Time (1) [15] ^Q^   12814 13/10/31
196   What's existing in the world of ' In B [5] ^Q^   17475 15/01/02
195   Song Pa , Lake Palace, and Gallery Sui & [13] ^Q^   21635 11/11/11
194   In Between Quantum Worlds II [7] ^Q^   8869 11/10/22
193   A Tribute to Cezanne, Braque,Mondrian, an [34] ^Q^   12315 11/06/04
192   Once Upon A Time in Seoul, Bye Bye Nam Ju [13] ^Q^   20247 14/09/11
191   The 5th Theatre Olympics in Seoul, Stage [24] ^Q^   15696 10/12/02
190   At Maui Island: Wedding Ceremony [24] ^Q^   13682 10/09/06
189   October Prologues:Hybridization [25] ^Q^   22266 13/02/08
188   Gladiator Reconstructing Old and New at [27] ^Q^   26709 13/06/04
187   Convergence of Structure and Image: Rabbi [27] ^Q^   21761 13/02/21
186   Boutique Monaco Museum B 1 Openning [6] ^Q^   10704 11/01/03

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