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^Q^ [작성일 : 2016-08-04 09:15:52 ] 
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Open Studio 2015 Pamplet (1) 정리중
The Six Cannons in far Eastern Asian tradition;

1. During China's Southern Chi Period(479-501 A.D) Hsieh Ho wrote six cannons for the Artist.

Briefly, they are (1) that the painters vital brush movement should convey the spiritual element of the matter being observed.
We can see Western counterparts in the work of Kandinsky, Gorky, Tobey, and Pollock, among others.
(2) The brush-stroke technique should have bone structure with 'passages'.
This method is similar to the Cubist, Constructivist, and Abstract Expressionist movement in the west,
and to the work of Braque, Mondrian, Malevich, and Pollock in Particular.
(3) Execution of the subject matter should be performed abstractly, but only after adhering to the first and second canons
(4) There should be a definite color dynamic.
(5) The distribution should be based on logical principles;and
(6) The artist must always respect tradition while at the same seeking innovation through his own original style.
These Six Cannons are the basis of all Eastern art.

In the West, beginning with the Post-Impressionists in Paris, the Expressionists in Munich anf the Abstract Expressionists in America,
painters began to move away from objective representational illusionism and towards a new subjective reality
by introducing the importance of the brush-stroke itself as the subject matter of their work.
With this signicant transition the hard line separating Eastern and Western art(and culture)began to disappear.




Kyu nam Han talks on his paintings; at Saddle River,
Kyu nam Han,'Dynasty'(1984), oil on canvas ,72 inch x 56 inch "4계 II (四季,Four Seasons)",(1984) oil on canvas,549cm x 122cm




[.......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....]
'Being and Time' as
the scientists views around me on these matter was an exit of the chaotic matters; the calamity lyrics.

Frank Wilczek, author of The Lightness of Being and Nobel laureate once said
'To find it properly and to measure it right'.. we have to deconstruct and break it .
The problem is how do we get it? Isn't this the similar cases as mine
when the issue of 'Being and Times' becomes the real subject.


I should have put the title of above painting as ' the Multiple Universe or Gallaxy'
It is interesting to see the origin of the word from Wikipedia, the free encyclopedia Jumping into : navigation, searching Multiverse (disambiguation):

..."The multiverse (or meta-universe) is the hypothetical set of infinite or finite possible universes (including the historical universe we consistently experience)
that together comprise everything that exists and can exist:
the entirety of space, time, matter, and energy
as well as the physical laws and constants that describe them.
The term was coined in 1895 by the American philosopher and psychologist William James.[1]
The various universes within the multiverse are sometimes called parallel universes.

The structure of the multiverse, the nature of each universe within it
and the relationship between the various constituent universes,
depend on the specific multiverse hypothesis considered.
Multiple universes have been hypothesized in cosmology, physics, astronomy, religion, philosophy, transpersonal psychology
and fiction, particularly in science fiction and fantasy.
In these contexts, parallel universes are also called
"alternative universes",
"quantum universes",
"interpenetrating dimensions",
"parallel dimensions",
"parallel worlds",
"alternative realities",
"alternative timelines",
and "dimensional planes," among others." "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."



작가가 새로운 작품세계를 추구한다는 것.
혁명 정신으로 매일매일 시점시점
비판적자세로 자신의 작품을 가다듬고 바꾸어 가야합니다.
창조행위는 그러한 까닭에 자신의 삶과 인생에 관한한
최고의 혁명적 행위라 하겠습니다.
이러한 변화는 작품속에서 진행되어야 합니다.
구태 의연한 것은 지우거나 덮어버리거나 부정해야 합니다. 그리고 항상 새로 와야 합니다.

혁명적 상황은 예나 지금이나 다르지 않기 때문입니다.

특히 예술계 종교계. 법조계 학계에 문제가 많이 남아 있다고 생각됩니다.
현재 뉴욕 스튜디오 에서 그리고 있는 '그림의 주제 (Subject Matter)가 무엇이냐'라고 누군가 물어 온다면 그 답은 이렇습니다 : (1) 내가 현재 '살고 있는 주변 현장' (맨하탄,뉴로셀).(2) 과거에 살아왔던 삶의 현장(창덕궁, 경복궁 가회동, 삼청동) (3) 기억하고 싶은 '공간' 들 .운율적 시간의 모습으로 변형시킨 공간/ 형상...(4) 이원일체(원융일체)의 자율성과 지속성으로 이어진 Synesthesia의 조형언어와 구조=시간들의 모임 (5)삶속의 풍경화.. (6) 그림속의 사리. 05/30/2015, 12:51 PM New Rochelle, New York Studio Kyu Nam Han, "Chang Deuck Gung Rear Garden", Seoul. & "Times Square NYC.". an-Jeong Sim very good! Like · Reply · May 18 at 12:10am 김지만 점묘법인가요~? 뭔가 시내 cross road 한복판인것 같습니다. 멋지네요~ Like · Reply · May 19 at 11:12am Kyu Nam Han CAPTION : Kyu Nam Han," Times Square Midnight ; A Variation in Theme, 30" x 40". 입니다. 미안.. Like · Reply · May 19 at 1:03pm · Edited Kyu Nam Han 구지 설명하자면 모두 다 섞은것입니다.동서의 style 들을 모두: ...차츰 설명할때가 옵니다 ..ㅎ..그냥저냥 봐 주셨으면. . Like · Reply · 2 · May 19 at 1:09pm View previous replies Kyu Nam Han 내그림은 점묘파들의 요소는 없어요.유클리드 부터 미점산수 그리고 칸딘스키이론을 다 뒤져도 관계가 없습니다.이번 가을 전시를 기하여 뭘좀 이야기해야 되겠지요.미술에 관한 이야기는 함부로 하는것이 아니니 신중하는게 좋겠습니다. 적당히 일본이나 유롭에서배운 Like · Reply · 1 · May 22 at 3:48am · Edited "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.

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."




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.

<...> 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."



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.


<...> 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.
(...)





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.

Kyu Nam Han 8: 20 PM, 5/19/2015 In Progress, Kyu Nam Han, "Time Square Midnight", Ac & oil. Triptych, 78 " x 168". In approximation of the interior and exterior ambiguities and absurdities in establishing referencing structure in making image symbols into the concrete representational rhythmic force. "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."





Biography of Kyu Nam Han . September 7, 2011 at 10:36pm Han interprets Korean Modernism within Western context and vice versa뾚estern Modernism within Far Eastern cultural context. He incorporates the traditional values and methodologies, such as perspective and chiaroscuro of the West, and the Chun (passage and grid) from the East. He blends Eastern isometric perspective with traditional Western linear perspective painting to create a fusion of both depth and flatness, and then apply the calligraphic principles to recreate new pictorial images. In his works, Han mixes two cultural genes together. The images of the street include cars, buildings, lights, etc. and the mosaics of fragmented color are masterfully demonstrated on the canvas. Han repeatedly superimposes and substitutes structures and images by overlapped lines of contours. The images, the whole drama of the surface come under the relationship of deconstruction resulted from the effective usage of various grids. At the same time, Eastern conventional calligraphic methodology has been employed as a key element in Han뭩 painting: 1) Hieroglyphic images correspond with structure and meaning. 2) Signified becomes signifier. 3) Meaning correlates with form resulting in an altered sense of totality, providing both irony and ambivalence. 4) Calligraphic gesture creates action. 5) Binary opposition issues transform into new perceptions. There are continuous processes of forms deconstructed and reconstructed of their meanings occurring between the elements of hues, gradation, textures, strokes, broken lines, etc. Han creates his own form of pictorial hieroglyphs. He highlights the drama of his paintings by introducing dots on dots, orchestrating a symphony with a theme뾞 synthesis of opposites: a) figure/ground; b) image/structure; c) signifier/signified; d) internal/external; e) language/being; f) perspective/flatness. Together, these ambivalent elements are converging into one single totality. Han is a Formalist and Multicultural Pluralist. He has searched for new generative sources within a global cultural context in order to invent a new way of making an art form from his past and present, which, in art vernacular, can be deemed Modernist, Post-Modernist, or Neoclassical Modernist. Perhaps a better way of saying this is that he is a 밽enetic engineer in painting". Education: 1974 - 77 The Ohio State University - Graduate School, Dept of Painting: M.F.A in Painting 1972 - 74 The Ohio State University - Graduate School, Dept of Theater, Stage Design 1978 - 79 Joe Brown Sculpture Studio: Rocky Hill New Jersey 1967 Seoul National University: B.F.A in painting Exhibitions: 2008-2011 Bonham Auction 2006 New York LIC Open Studio 2004-2005 Sun Gallery, 2003 Atelier International Art Group, New York 2002 Anne French Fine Arts, Miami - Gold Key of the City of Bay Harbor was given to the artist by mayor Atelier International Art Group, New York 2000 Michail Lombando Gallery, New York 1999 Artsforum Gallery, New York 1998 Blue Hill Cultural Center Ellen Kim Murphy Gallery, Seoul, Korea 1996 Mi Gallery, Seoul, Korea 1995 Hong Kong International Art Exposition, Hong Kong Walker Hill Art Center, Seoul, Korea 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 Commissions & Collections: L.H. Funk Foundation, Basel Switzerland American Express Headquarters, New York Supreme Court, Seoul, Korea Samsung Corporation, Seoul, Korea Hoam Museum, 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 Link to New York Times coverage - New York Kyu Nam Han August 21 at 11:53pm � Edited � . A moment of Transference toward the NANO to the Astros: Kyu Nam Han (1986), in part. 56 " � 96", multiple media. Ac & oil, Rag Korean Paper mounted on canvas. 5Pointz / Tenafly/ New Rochelle/ Lotte Studio Kyu Nam Han August 21 at 11:53pm � Edited � . A moment of Transference toward the NANO to the Astros: Kyu Nam Han (1986), in part. 56 " � 96", multiple media. Ac & oil, Rag Korean Paper mounted on canvas. 5Pointz / Tenafly/ New Rochelle/ Lotte Studio Kyu Nam Han August 21 at 11:53pm � Edited � . A moment of Transference toward the NANO to the Astros: Kyu Nam Han (1986), in part. 56 " � 96", multiple media. Ac & oil, Rag Korean Paper mounted on canvas. 5Pointz / Tenafly/ New Rochelle/ Lotte Studio
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[ 총게시물 : 233 | page : 10 ]
[ 정렬조건 : 날짜 | 조회  ]
순번(No) 제목(Subject) 작성자(Name) 조회(Hit) 파일(Data) 등록일(Date)
233   2016 Quantum Painting: TMS + CFP ^Q^   554 16/10/05
232   IV. Open Studio (2015) Key words and Image ^Q^   1517 16/07/22
231   Open Studio (2015)III ^Q^   1303 16/09/19
230   Open Studio Pamplet (2015) II 정리중입니다 ^Q^   1428 16/09/19
229   Studio Opening 2015 New Rochelle (2) ^Q^   1130 16/07/22
228   Open Studio 2015 Pamplet (1) 정리중 ^Q^   3751 16/08/04
227   Seoul Lake Palace Studio at Lotte: A Poli ^Q^   2812 16/09/19
226   A Concept of the Revolution :the Limits ^Q^   2417 15/08/23
225   Nano, Real, Astro in between the worlds: B ^Q^   6668 16/11/01
224   Going Back to the Beginning of the Time [1] ^Q^   4548 13/08/25
223   Synesthesia.. I hear what I see in my mind [1] ^Q^   14557 16/08/04
222   A Spring Waltz in Betweens; New Rochelle [7] ^q^^g^   4438 15/08/25
221   New York and Seoul: in Between [3] ^Q^   38372 15/08/25
220   Jang Chung Dong Paintings ^Q^   5050 13/03/12
219   The Brief Sketches of Preview Opening ^Q^   6569 13/02/25
218   Kyu Nam Han talks on Kyu Nam Han's Painti ^Q^   64919 13/02/03
217   Kyu Nam Han's Works On Progress in Seoul ^Q^   6072 14/06/12
216   New Oil Paintings :The Three Metamorphoses ^Q^   6365 13/01/30
215   New Paintings of 'Times Square' in Seou ^Q^   4651 12/11/25
214   The Villages of Northern Bank of Seoul H ^Q^   8705 14/09/15
213   2012 Thanksgiving Day in Seoul, Bongsan Gu ^Q^   5655 12/10/17
212   The Converging series KIAF 2012 [1] ^Q^   6100 12/09/30
211   East West Institutes for the Arts (1) ^Q^   7335 13/09/13
210   East West Institutes for the Arts and Kore ^Q^   8349 12/08/23

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