Joseph Choe solo show
Sep,22 ~ Oct,14, 2023
opening reception 22, Sep,2023
최요셉 작가는 1987년 텍사스 오스틴에서 태어나 3살때 자폐진단을 받았다. 어렸을 때 부터 그림 그리는 것에 관심을 보이며 그만의 독특한 예술적 감각을 나타냈고, 한국계 미국화가 David Choe를 만나 그의 잠재적 재능을 개발하여 자신의 작품세계를 형성하기 시작했다. 작가는 주위의 환경과 풍경을 해석하여 거침없는 붓질과 다채롭고 살아 움직이는 색상으로 캔버스에 옮겨 놓으며 그의 작품은 인상파의 빛과 변화무쌍함을 묘사하는 표현주의의 기법을 나타낸다.
현재 뉴저지에 거주하며 ACC studio에서 김호봉 작가의 사사를 받으며 작업하고 있다. 그의 작품은 샌프란시스코 총영사관, Saratoga Library, Norton Gallery of the Pacific Art League in Palo Alto, World Mission Baptist Church, and Valley Church 등에서 전시되었으며, 성경이야기를 구성한 3번의 달력시리즈를 출판하였다.
Joseph Choe, a Korean American artist residing in New Jersey, was born in 1987 in Austin, Texas. Diagnosed with autism at the age of three, Choe began expressing interest in art at the age of seven, demonstrating artistic originality and distinct style.
In 2004, Choe learned under the renowned American artist, David Choe, who recognized Choe’s talent and helped cultivate his artistic creativity. Interpreting the landscapes and the world around him, Choe uses confident brushstrokes and highly vibrant colors that represents the artist’s inner hidden passions in place of words. Evocative of impressionist and expressionistic method of transferring light and movement, Choe is able to capture a moment of a scene in ways that touchingly convey the emotive effect of atmosphere and place.
He currently works with Hobong Kim at ACC studio in Tenafly New Jersey.
Choe has held exhibitions in California at Consulate General of the Republic of Korea in San Francisco, Saratoga Library, Norton Gallery of the Pacific Art League in Palo Alto, World Mission Baptist Church, and Valley Church. Choe published three calendar series, each depicting biblical stories.
sense and sensibility
July 14 ~ Aug 31, 2023
Sense & Sensibility
As a curator, I have known these artists in Korea for a long time, and I sympathize with and support what they are aiming for.
When I look at their works, I feel the depth of their different styles and emotions.
Every time I see the result of in-depth sophistication, unique interpretation, and high-level technique, I feel joy.
Consisting of 7 full-time artists, this sense n sensibility exhibition is a special exhibition centered on so-called hot artists in Korea. I hope you can quietly contemplate and feel their works overflowing with life and living passion, and I am happy to be able to showcase them here.
curated by Hobong Kim
Park Hang-Ryul is a Korean artist famous for his paintings and
poems. He graduated from Seoul National University in 1974 and received master degree in Painting in Hongik University, Afterwards, he worked as a professor at the Department of Painting at Sejong University.
He held over 31 solo exhibitions and participated in more than 100 group exhibitions around the world including Korea, the United States, Japan, Belgium, England and many other countries. He is known for a portrait drawn in profile with a bird and flowers.
he was inspired by Korean traditional motives and drew a girl wearing Hanbok (Korean traditional clothing). Since then, he has drawn many different paintings with a girl wearing Hanbok especially in a rainbow-colored one.
Kim, Kang Yong
Kim Kang-Yong graduated Hong Ik Univ. and Hong Ik Graduate school, formal professor of Hong Ik Graduate school. He is a Korean Asian Modern & Contemporary painter who was born in 1950, conveyed the realities of life in Korea on canvas in a hyperrealist manner in the 1970s. His longtime subject matter, bricks, has now become the artist’s trademark.
KIM’s bricks, presented in a neutral and mechanical representation of real bricks, can be considered as Korean reinterpretation of Hyperrealism. KIM’s paintings are so distinctive that they paintings are clearly distinguished from traditional figurative art as well as American Hyperrealism, which the artist was influenced by. Thus, what characterizes his work is not hyperrealist technique – it is simulacre, whereby an image becomes independent from the original, turns far more real than the original itself and functions as its own reality eventually.KIM’s hyper-realistic work, an unprecedented innovation, renders far beyond ‘representation.’ They pose fundamental questions about an ‘image’ and a ‘painting’ hence the artist encourages the viewers to contemplate. Ultimately, the artist delivers a far-reaching question: where is the truth and justice in this era in which history, reality and even the future have been rendered as simulacre? This is why we are so drawn to KIM Kang Yong’s bricks, which may seem like a harsh cold-hearted truth at first glance, as they reclaim sympathy and compassion.
His works are owned by art museums, public institutions, and the National Museum of Modern and Contemporary Art, and can be seen at famous auction houses such as Christie's and Sotheby's.
Kim Young-Hun is currently based between New York City and Seoul. He obtained B.F.A. in painting from Hongik University and holds two M.F.A. from Chelsea College of Art and Design and Goldsmiths College in London.
Living through the transition between the analog and digital generations, Kim is passionate about observing and deciphering the unknown between the 1 and 0 binary codes.
His works demonstrate a traditional Korean painting technique called Hyuk-pil (革筆), in which the painter mixes various colors and paints with rapid strokes using a leather brush. The multi-colored stripes that seem to flow like ink are made by one continuous brush stroke across the canvas, with the oil colors melting together and permeating into the canvas.
Kim has exhibited extensively internationally, with over 15 solo and 70 group exhibitions. His paintings are in several prestigious public and corporate collections, including Bank of America, The Arts Club, and numerous museums.
“The topic of artist Jong-Hoon Sun's
art is "Beauty."Sun's view on the
relationship between "reason in
beauty," and the" eternity in life"
can be seen through his poem
(Relationship–being different places
but dreaming the same dream).
In the end Sun views the relationship
as an entire "being." Everything
which has live has reason and dreams
the same dreams. Also the beings
come across each other, emptying,
but at the same time filling
themselves as well.”
Sun Jong-Hoon is a Korean artist.
He graduated from Seoul National
University in 1984.
Through numerous group exhibitions,
he has presented many works with
beauty as a topic,and is active as a
member of the Seoul Catholic
Kim In OK
Artist Kim In-ok graduated from BFA and MFA at Hongik University,Korea.. Since then, she had 25 solo exhibitions and participated numerous group exhibitions.
Her works are in the collections of the Ministry of Foreign Affairs and Trade, Korean Embassy in China, Yongin Folk Village Museum of Art, Yangpyeong Museum of Art, Cheongsong Museum of Art, Daewoong Pharmaceutical, and Fursys headquarters.
The scenery in the artist's works represents the hometown of everyone's heart. Through the warmth of Korean paper and the warmth of coloring, the artist reminds us of the memories of the hometown that we have forgotten in a difficult reality, and conveys warm comfort like a spring breeze. Talk about new hope.
‘Waiting’ full of innocence, and ‘The Road to Hangeumri’ with beautiful street trees seen through the window are all her landscapes.
She is a painter, graduated from Hong Ik University
1993 BFA, and MFA, Hong Ik University, Seoul, Korea
“I think there are more relative cases than absolute ones in the world.
Dripping is a work that is accompanied by coincidence and inevitability,
and it shines more when you understand and accept the relative nature of
the action and the result.The fact that intentions cannot make everything is the biggest
attraction and challenge of dripping.Through my work, I am making vessels that
contain certain points of life and feelings. I hope that it will become a vessel that
can contain the hearts of those who see the work.”
Graduate school of Hong-ik Univ(M.F.A)
College of fine Art, Hong-ik Univ. Painting Major(B.F.A)
I draw memories.
Of course, memory is structurally different, although it may come from
real-life experiences. Experiences and memories are often thought to be
the same, but people only remember the most impressive aspects of the
experience. People who had the same experience at the same site talk
about each of them in their memories by emphasizing the specific areas
such as the scene, color, atmosphere, and sound that impressed them the
most. Memory is not reality but emotion.
Late spring, Acrylic, 2023
Reality + image 2201 - 2081, Mixed media,2022 20x26
Electronic Nostalgia, oil on Linen, 2022
Spring day 53×33.4㎝ oil, acrylic on canvas 2023
the way to Hang Gum ri, 2006
Something, Acrylic on canvas, 2023
calm of the soul,,oil on canvas, 37 x 20cm
June 19 ~ July 05, 2023
한지,고유한 한국의 종이다.
닥나무와 뽕나무의 섬유질 등 천연 재료로 만들어지기 때문에 한지에는 자연이 가지는 질감을 그대로 갖고 있으며, 한지는 전통적인 한지 제작 방법으로 인해 곱고 질기며, 마치 살아서 숨쉬는 듯한 생명감을 느낄 수 있다고 한다.
양지는 일률적이고 획일화되어 있지만 한지는 동일한 장소에서 동일한 방법으로 제작된다 할지라도 획일적으로 동일한 품질과 크기의 제품을 만들기가 힘듭니다. 이러한 한지의 다양성은 그만큼 미술 재료로서는 다양성을 줄 수가 있고, 물론 미술 재료로 사용되었을 때 주는 느낌도 다르게 나타날 것입니다. 결국 이것은 재료의 다양성을 가져다 주는 한지의 고유한 특성이라 할 수 있다.
한지에서 느껴지는 은은함이나 온화함, 소박함과 자연스러움 등은 결코 양지에서는 느낄수 없는 느낌으로서 한지의 고유한 특성이고, 이것은 동양적인 정서와도 일치한다.
이번 전시는 이러한 한지의 특성을 살려 작업하는 작가들을 기획하였다. 한지 그 자체로의 의미를두는 작가로부터 그 한지를 가지고 어떻게 자신의 미적 언어로 접근하는 작가들까지 다양한 해석의 작품들을 살펴보고자한다.
Hanji, a unique Korean paper.
Because it is made of natural materials such as mulberry and mulberry fiber, hanji has the texture of nature, and hanji is fine and tough due to the traditional manufacturing method, and you can feel a sense of life as if you are alive and breathing.
Western paper is uniform and standardized, but even if Hanji is produced in the same place and in the same way, it is difficult to make products of the same quality and size uniformly. The diversity of Korean paper can give it as much variety as an art material, and of course, the feeling it gives when used as an art material will appear different. After all, this is unique characteristic of Hanji that brings about the diversity of materials.
The gentleness, gentleness, simplicity and naturalness felt in Hanji are unique characteristics of Hanji, which can never be felt in Western paper, and this also matches the oriental sentiment.
I 've been planned the artists who work by making use of these characteristics of Hanji. I would like to look at the works of various interpretations, from artists who put the meaning of Hanji in itself to those who approach with their own aesthetic language with the Hanji. curated by Hobong Kim
Its inside is bigger than it’s outside, was quoted from “Last Battle, Chronicles of Narnia” by C.S. Lewis. In this book as children enter into a wardrobe, the wardrobe reveals its expansion into another dimension, Narnia. In my painting, by symbolic action and time of opening a drawer, two seemingly separate dimensions become integrated. Two different dimensions are inherently interconnected. It is a matter of how to find connection and openness. Daoism also explains “inherent oneness of polar opposites”. Physicists have proved this interconnection in recent researches in subatomic physics as well.
To depict a drawer I technically reversed conventional linear perspective. With my reversed perspective, a vanishing point is placed in front of a drawer. By using this reverse perspective, I like to imply infinite space inside of a drawer, which represents another dimension. It also signifies dualistic notion of a drawer as an object and also as space.
It’s inside is bigger than it’s outside_peony_03, 36x24, ink and color on mulberry paper, 2016
"I want to create the appearance of cosmic celestial body. I want to confirm our existence in the appearance of the cosmos. We, the beautiful creatures living in the cosmos, are connected to each other in the cosmos and live by receiving energy of life in cosmos. The birth and death of stars, and the cycle of our lives in the cycle of the cosmos come to mind. Through the appearance of the celestial body in the cosmos, it makes us think about the relationship between the cosmos and humans."
Relationship of Life 4, 60.6x72.7cm, Acrylic, Hanji on Canvas, 2018
The images of the houses made of Korean paper piled up in layers remind us of childhood houses and alleys that were close together, and through the expression of the windows decorated in colorful colors and lit up, not only sad memories but also decorative liveliness are expressed. ”
Zhuangzi’s The Butterfly Dream
“We do not really awaken and
so we are not sure of anything"
The Butterfly Dream Series No.01-09
Oriental Painting on Jangl (Mulberry Paper),6”x6” each , 2020-2021
My work involves the creation of Oriental philosophical theory that has intellectually accepted nature as experienced in life and development of nature as a process to understand the universal principle. The concepts that form this theory have inspired me to express my maturity through my artwork
Using acrylic on traditional Korean paper, I wanted to mimic the texture and feel of watercolors. To achieve this, I used diluted acrylic-gesso, which promotes a vastly different texture from just acrylic on canvas.
Using this method, I tried to express the life of Umma, or “Mother” in Korean. I aimed to capture the steadfastness of mothers, and their ability to withstand and overcome trials and tribulations of their pasts. My main subject, trees, was used here as well in order to help convey the theme.
End, Medium : Acrylic on Hanji Size : 30”x24" 2023
My artistic journey aims to portray my multifaceted identity, bridging the realms of Asian and Western cultures by reflecting upon the customs and experiences during my residences in Singapore, Korea and US.
Drawing inspiration from the profound essence of Korean aesthetics, my work endeavors to depict an inner landscape in a modern light, utilizing the luminosity of mother-of-pearl and the vibrant hues of Korean mulberry paper ("hanji").
The intention behind expressing through the use "hanji," and mother-of-pearl that "a thousand years have passed" is to convey the concepts of light and darkness, transience and eternity. It aimed to capture the eternal nature of life that finite human existence yearns for.
In Young Park is a graduate of Pennsylvania Academy of Fine Arts, M.F.A. and B.F.A at Hong-Ik University in Asian Painting. She remains active in the art community in the New York metropolitan area.
Landscape , 24x36, 2023
May 30 ~ June 16, 2023
Curated by Jayoung Yoon
The 'Nature Walkers' exhibition brings together a diverse collection of artworks that explore
different facets of our natural world, including its beauty, its fragility, and its connection to our
everyday lives. The exhibition features a variety of media, including paintings, drawings, prints
and sculptures and will be on view at ACC gallery from May 30 to June 16, 2023.
Each of the artists in the exhibition offers a unique perspective on nature and its role in our lives.
Eric Diehl's paintings of automobiles in US American landscapes mimic the form of cinematic
imagery, commenting on contemporary life. Jaanika Peerna's work captures natural processes
through drawings, installations, and participatory performances that incorporate line and water,
while prompting audiences to reflect on the loss of natural ice through her Glacier Elegies
project. Zac Skinner draws attention to the damage that humans have inflicted on the
environment, and to the need to adapt to the evolving ecosphere. Jackie Skrzynski collapses the
perception of interior and exterior space by suggesting similarities between botany and anatomy,
providing a sense of connection with a larger natural system. Sharon Strauss works with
collections and communities of things to capture a moment in time, exploring the intersection of
place and identity. Kazumi Tanaka's sculptures are made of earthy materials and natural ink
drawings which offer a meditative reflection on the beauty and fragility of life. Jayoung Yoon
draws inspiration from Buddhist philosophy, collecting natural materials around the Hudson
Valley and meticulously weaving them together with her own hair to convey the fleeting and
ephemeral nature of our existence.
These seven artists use nature and its elements as a primary source of inspiration for their art.
Some explore the ephemeral wonder of nature, inviting visitors to contemplate the intricacies of
the natural world and the impermanence that underlies its constant cycles of growth and decay.
Others offer a timely reminder of the fragility of ecosystems, human’s impact, and our
responsibility to protect and preserve the natural world. Whether through contemporary realist
landscapes, or abstract representations of natural phenomena, each work in the exhibition invites
viewers to slow down, observe, and appreciate the wonders of the world around us.
The exhibition offers a distinct and multifaceted perspective on the complex relationship
between humanity and nature and encourages viewers to connect with the natural world in a
deeper, more meaningful way.
More information can be found on the gallery and artist websites:
Eric Diehl's paintings of automobiles in US American landscapes mimic the form of cinematic imagery, commenting on contemporary life.
"Company Town" by Eric Diehl
Sharon Strauss works with collections and communities of things to capture a moment in time, exploring the intersection of place and identity.
"A Barnacles life" by Sharon Strauss
Kazumi Tanaka's sculptures are made of earthy materials and natural ink drawings which offer a meditative reflection on the beauty and fragility of life.
"Bloodless" by Kazumi Tanaka
Jackie Skrzynski collapses the perception of interior and exterior space by suggesting similarities between botany and anatomy, providing a sense of connection with a larger natural system.
"Poppy Bloom" by Jackie Skrzynski
Jaanika Peerna's work captures natural processes through drawings, installations, and participatory performances that incorporate line and water, while prompting audiences to reflect on the loss of natural ice through her Glacier Elegies project.
"Screech of Ice series" by Jaanika Peerna
Zac Skinner draws attention to the damage that humans have inflicted on the environment, and to the need to adapt to the evolving ecosphere.
"Otter" by Zac Skinner
Jayoung Yoon draws inspiration from Buddhist philosophy, collecting natural materials around the Hudson Valley and meticulously weaving them together with her own hair to convey the fleeting and ephemeral nature of our existence.
"The Offering Bowl" by Jayoung Yoon
Acc gallery presents an invitational exhibition under the title Exhibition
Title: Dissonance and Harmony "Collage, Art as an Object"
Doris Neidl, Saul Robbins, Jae Hi Ahn, J ulie Sim Edwards
Jihoe Koo, Injoo Whang, Eunyi Lee, Yunmin Lee
Curated by Jihoe Koo
May 09 ~ May 25, 2023
17-19 Washington St. 2nd fl (CVS Building), Tenafly NJ 07670 Tel 201 390 6275
< Dissonance and Harmony, Collage>
It's really amazing to think about the human being. Life brings about each person's memories and experiences created in that time and space become stories and history.
While preparing for this exhibition as a curator, I imagined this world as a large canvas.
And I thought it would be an opportunity to explore the formative world of artists who live in dynamism and diversity, conflict and dissonance, difference, tension and harmony within the canvas, and tell stories about their lives and works.
As the title suggests, this exhibition 'Dissonance and Harmony' presents a series of works of tearing, cutting, attaching, pasting, encountering disparate materials, overlapping images, and achieving formative harmony. I thought that the process of collage is similarly connected to the flow of our lives.
I hope that this special exhibition 'Dissonance and Harmony' will be a meaningful exhibition that tells various stories through interesting collage work and empathizes with and ponders how our lives can be harmonized even in dissonance.
<불협화음에서 조화로의 꼴라쥐>
합리적인 화면 구성과 과학적인 접근을 통해 캔버스 위에서 완벽한 조화를 추구했던 신고전미술은 18 세기 후반부터 19 세기 낭만주의 시대를 거치게 됩니다. 저는 이번 콜라쥐 기획전시를 준비하면서 이 시대에 관심을 갖게 되었습니다.
역사는 기존의 고정관념에서 벗어나 인간의 창의성과 유연한 사고의 모든 흐름을 통해 변화한다고 믿습니다. 희망의 빛으로 찾아온 낭만주의의 그림은 신고전주의 작품처럼 완벽하게 들어 맞지는 않지만 사람들을 위로하고 영혼의 조화를 찾는 작품으로 사람들에게 다가왔습니다.
인간의 삶에 대해 생각한다는 것은 정말 놀라운 일입니다. 한 사람 한 사람의 삶의 모습을 통해 생명이 창조되고, 그 시간과 공간 속에서 그들만이 만들어내는 기억과 경험이 모여 하나의이야기가되고 역사가됩니다. 큐레이터인 저는 이번 전시를 준비하면서 이 세상을 커다란 캔버스로 상상해 보았습니다.
그리고 그 캔버스 안에서 발생하는 역동성과 다양성, 충돌과 불협화음, 그리고 긴장과 차이 들로부터 조화롭게 만들어가는 작가들의 조형세계를 탐구하고 그들 만의 삶과 작업이야기를 들려주는 계기로 생각하였습니다.
이번 전시 제목인 ‘불협화음에서 조화로’ 설명하여 주듯이, 저는 이미지를 찢고, 자르고, 붙이고, 더하는 일련의 작업과정, 이질적인 재료와의 만남과 그 안에서 만들어지는 조형적인 조화, 그리고 이미지를 중첩하는 콜라쥐 작업 방식이 우리 삶의 흐름과 비슷하다고 생각했습니다 .
이번 기획 전시인 ‘불협화음에서 조화로의 콜라쥐’는 흥미로운 콜라쥐 작품으로 다양한 이야기를 전하며, 우리의 불협화음 같은 삶 속에서도 어떤 방식으로 조화를 이루며 각자의 삶을 만들어갈 수 있는지 생각해보고 공감을 나누는 의미있는 전시가 될 것을 희망해봅니다.
Doris Neidl, "In the beginning there was the breath of nature"
9 collages, each 4.7 x 6.1 inches, 2023
“In the beginning there was to breath of nature” (2023) is a poem written by my college
and friend John Sims. The small collages are part of a bigger work that could be interpreted
as a chessboard (he loved to play chess) or like an alphabet, which in turn is intended to
express his and my love of words.
"My work is often inspired by books and poems. For me, the artistic examination of a text, is
an attempt to create an analogy to a literary work, as a correspondence to its philosophical
problematic, its poetics, its structure and its truthfulness to life. However, the image should
also be able to exist without the the text.
I often work on series, which usually extend over longer periods of time, often years. I revise
them, I come back to them. The repetiton of a theme gives me the chance of artistic growth,
of graphic "surpassing oneself." I work on woodcuts, etchings or collages at the same time. I
am rarely "done" with something. Is there ever that point where you can say you've reached
your goal? For me doing art means to let go expectations and ideas, get involved with new
ideas and at the same time reinvent old ideas. The Austrian Autor Ernst Jandel once wrote:
"What I want are poems that don't leave you indifferent." What I want are Works of Art that
don't leave you indifferent."
Saul Robbins, New York City (White Light Meditation 241),2012Scratched Drawing onChromogenic Fuji Print,13x19
"Where’s My Happy Ending?
A friend once said that everyone has their own tragedy... this is mine.
Where's My Happy Ending? intends to be as subjective as it is provocative, navigating
and interpreting the world of medically assisted fertility treatments and the range of
anticipation, promises, and disappointments as experienced by prospective parents.
After too many tests and procedures, and more emotional upheaval than we care to
recount, this collection of photographs, drawings, and ephemera is the closest I have
come to making sense and taking control of this extremely challenging and personal
After many years of trying, my wife became pregnant and gave birth to our very healthy
son, Theodore. While this series loosely chronicles the struggles and desires we held so
closely and privately, what began as a series of playful snapshots and naïvely obsessive
drawings has become a uniquely meaningful and enduring creative process.
Saul Robbins is interested in the ways people interact within their surroundings and the
psychological dynamics of intimacy. His photographs are motivated by observations of
human behavior and personal experience, especially those related to loss, unity, failure,
and the latent potential residing in traditional photographic materials and personal
history. Robbins is best known for “Initial Intake”, which examines the empty chairs of
Manhattan-based psychotherapy professionals from their clients’ perspective, and
“How Can I Help? – An Artful Dialogue”, a pop-up office into which he invites strangers
to speak with him about anything they wish for free, and in complete confidence."
Robbins’ work has been exhibited and published internationally. He received his MFA from
Hunter College of the City University of New York, where he studied under Roy DeCarava. He
is Adjunct Professor of Photography at International Center of Photography, NYFA, and SVA
and consults privately about communication strategies and professional development for
artists. His work can be viewed at: www.saulrobbins.com and @Saul.Robbins.
Jae Hi Ahn
"Connected", the installation project, is based in part of collections from
Metropolitan Museum of Arts and New York Botanical Garden. This project is focused
on dynamic intercultural heritages and communities in NYC. By collecting, studying,
and painting images of traditional Korean earrings from MET and orchids from
NYBG, I created these watercolor works as the part of the large installation including
multicultural heritage pieces and orchids. Through "Connected", I hope all the races
of human unite and this project will help people on easing hatred to other races
and appreciate dynamic cultural surroundings.
"My work is focused on community well-being and human relationships to nature,
racism and sexism. Through creating multidisciplinary arts in the field of installation,
sculpture, ceramic, and watercolor painting, I try to connect human and nature, and
different cultures and different races together across the community in NYC."
Jae Hi Ahn’s work has been presented widely in New York at venues that include
Sunroom Project Space, wave Hill, Bronx; Chashama, NYC; Steinhardt Conservatory
Gallery at Brooklyn Botanic Garden; Broadway Windows at New York University; The
Field Sculpture Park at Art Omi, Ghent; Elizabeth Foundation for the Arts, NYC;
LMCC’s Arts Center at Governors Island; and Nathan Cummings Foundation, NYC.
She has been awarded grants from the Puffin Foundation, Brooklyn Arts Council
Community Arts Regrant (NYCDCA), Urban Artist Initiative Fellowship, and has
participated in residencies at Stone Quarry Hill Art Park, Cazenovia, NY; Ragdale
Foundation Residency, Lake Forest, IL; LMCC Swing Space, New York, NY; and Sculpture Space Residency, Utica, NY.
Julie Sim Edwards
"My collages are intimate in size and are meant to be experienced close up. They may be narrative or suggestive. I relish the spontaneous process of instinctive play without knowing whether it will result in wonderful visual chaos or composed lyrical poetry. Collaging is perfect for my creative process.
My recent work is a map of a personal journey, both literal and figurative. They are often compact in size and presentation, and I incorporate tearing, gluing, painting, stamping, scratching and mark-making to convey my experience, and perhaps to trigger memories or resonate with the viewer's own journeys."
Title : Series of ‘My favorite things’.,Medium : Drawing with white pen, painting, collage on the hardboard gift box.
Size : 17”x 17” Year : 2023.
" I work in multiple media, from printmaking to illustration to installation art. I am interested in exploring time and memory with my print series _ "Childhood Memories" and Collage series _'My favorite things" about childhood and self-rediscovery. My pieces begin as a collage, then incorporates drawing and print through photography, linocuts, stencils, pencils, inks, markers, painting, white pen, and thread. It depicts all kind of the inner emotional state through the child's gestures, mood, memories, places and "my favorite things". The children in my works are colorfully dressed, but their faces have no color; they could be anyone, everyone, reminding viewers of their own childhood. I believe that my works will be a bridge sharing "empathy “with people. Children become a mirror."
Jihoe Koo was born in Seoul, Korea and moved to France for her study. She earned Diplome from École Nationale Supérieure des Beaux-Arts, section de la gravure in Paris, France and MFA in printmaking from Sung-shin Women’s University, Seoul, Korea. She had solo exhibitions and has participated in numerous national and international exhibitions including the 5th Sapporo International Print Biennale Exhibitions, Sapporo, Japan (2000), Mentoring Program for Immigrant Artists Project, NYFA, New York (2010), Dumbo Arts Festival in Brooklyn, New York (2011), the 6th Governors Island Art Fair, New York (2013), NYFA Curatorial exhibition ‘ Borderless: In Perspective’ curated by David Terry, Germany, Berlin (2017), ‘We The People’ curated by Heng-Gil Han and initiated by KAFNY, Ozaneaux ArtSpace, New York (2018), ‘Branch to Branch’ projects at New York Public Library (2017-2019) and Studio Anise showroom Art Series Exhibition Curating Project, New York (2019). Jihoe Koo is a New York based artist whose work spans multiple media from printmaking, sculpture, illustration and installation art.
"Boundless_0321",14 x 18 x 2 in, watercolor and sumi ink on paper, cut and collaged
"In my work, I explore the supposed binaries of the individual and the collective, of positive and negative spaces, of simplicity and complexity. I imagine their interconnectedness through drawings, paintings, collages and installations using sumi ink and water based paints on paper. My work starts from a single pattern, cut-out paper or mark making that I repetitively accumulate to create a larger whole. When tiny and seemingly insignificant individual pieces are gathered together, they generate a powerful collective body filled with visual illusions. Labor-intensive and meditative processes pay homage to invisible time and labor."
"Salsa",2022, 14x 18in,mixed-media stitched fabric work on canvas
Eunyi Lee graduated from Ewha Womans University with a major in
For the past 20 years, she has taught art to students of various
ages, from kids to adults, and students with visual impairment or
Working predominantly with recycled fabric, Eunyi Lee has made
sewn dolls in the same shape but in various patterns and sizes and
often hangs hundreds of them from the ceiling to create one giant
installation piece. Her work also includes mixed-media stitched fabric work on canvas.
Joy of Reincarnation, 8.5x12inch, 2023, Mixwd mwsia on paper
"My ego moves through the world of dreams and imagination in my paintings. I often don't worry about what to draw, instead allowing the work to be filled and created with ever-changing emotional curves. The process of painting is a desire for something beyond everyday life, filled with illogical and sensuous expressions.
I am drawn to the beauty of the unknown, and I believe that art can be a way to explore and express the mysteries of the human psyche. My paintings are often abstract, but they are always grounded in my own personal experiences and emotions."
She graduated from Sunhwa Arts High School, bachelor in Art Education at Hanyang University, and master in Fine Arts at Sejong University. Since 2008 she has continually worked on paintings, and had 5 private exhibits and participated in many group art exhibitions. Her recent art trend is to pursue various collage styles in paintings.
Stephanie Kim Solo Show
April 22 ~ May 06,2023
Reception April 22, 6~8pm
It has been a long time since I started drawing again, and for this exhibition, I want to express nature's captivating and surreal beauty through these new works.
Through the inspiring scenic views of nature, I have made the subjects of my works to be the different plants and elements of nature to express my feelings.
Nature is a surreal reality in itself, and the aspects of nature, such as trees, flowers, forests, and the sky, shape our essence and make up our lives. They are not only a part of us but something we share with the world. These elements of nature exude indescribable beauty, with different colors and forms that bring us happiness and joy.
The landscapes of nature enter my mind through my eyes, creating a vibrant and beautiful world that leads to new sensations and feelings. Every time I look at nature, I am transported to a new world of imagination, where I experience a world without pain or stress, a warm and tranquil world. The images and thoughts that arise in me when I look at nature remain in my mind as a part of my imagination.
Through my works, I want to invite you to immerse yourself in your own inner world while experiencing the beauty of nature.
Stephanie Kim is an artist who graduated from Seonhwa High School, Ewha Womans University's College of Fine Arts, and its graduate school. She has held several exhibitions and currently resides in Connecticut after immigrating to the United States. Her main medium is acrylic.
April 03, 2023
Acc gallery presents an invitational solo exhibition under the title “ THE VIGOROUS LIFE SERIES, Between tranquility and comfort ”
Curated by Hobong Kim
April 03 ~ April, 20, 2023 (opening reception April,08 (Sat) 6:00pm ~ 8pm)
17-19 Washington St. 2nd fl (CVS Building), Tenafly NJ 07670 Tel 201 390 6275
“Between tranquility and comfort” "It's okay not to try so hard.”
This is a phrase from a YouTube sleep meditation that I listen to every night before going to bed. I really like this phrase because it makes me feel calm and at ease. It has helped me overcome insomnia that suddenly developed in my middle age.
The process and results shown in my recent work felt like a fierce battle. It was a combination of a strong will to escape from a dark environment and repeated actions taken at every moment. While working, the pain was long and the joy was short-lived. "Why am I repeating this painful work? Is it a healing process for me, or is it self-pity?" Whatever it was, my emotions and the subject matter merged, and I was swept away by waves of emotion until my emotions suddenly detached from the subject. Once the emotions detached, there was a state that emerged, which was either tranquility or comfort. In Korean, these two words have different first characters: "편(便)” and "평(平)." "편(便)" can mean comfortable, flattering, skilled, restful, and learning, but it can also refer to excrement or urine. "평(平)" can mean flat, govern, neat, comfortable, decide, complete, equipped, harmonious, and easy. Besides "comfortable," the usage of the two characters is quite different. "안(安)" means peace, comfort, and pleasure. This character is combined with others to express psychological states of mind. In the dictionary, "평안(平安)" means a peaceful state, and "편안(便安)" means a comfortable and stable state.
Poet Kim So-yeon wrote in her book "The Dictionary of the Mind" about the subtle differences between the two words. "We like comfort. A comfortable person, a comfortable space, comfortable time... being
comfortable means being convenient and safe. Everything is at our fingertips, and everything is like the tongue in the mouth. Therefore, we are relaxed without any desire. Being tranquil means peaceful and stable. Peace and stability are like the core of a typhoon, but to enjoy it, we need enough tension. Knowing this, our body, which already has tension, enjoys a peaceful state. To be tranquil means to be peaceful and stable. Peace and stability, like the eye of a typhoon, are at rest, but to enjoy them, one needs a certain level of tension. Because we already know this, our bodies know how to maintain a moderate level of tension while remaining in a state of peace, leaving us with a bit of enthusiasm. This peacefulness, maintained by a bit of enthusiasm and a moderate level of tension, requires invisible effort to carry out our relationships, places, and time properly. However, relaxed comfort without any desire does not take care of our relationships, space, or time that we belong to. When a family travels to a quiet countryside, everyone feels peaceful, but when someone else's discomfort is incurred at home, it often affects my comfort. My comfort may come at the expense of someone else's discomfort, but my peace can be a shared value with others.
Am I in a state of comfort or tranquility now, or somewhere in between? I want to enjoy the space between the tranquility and comfort that has come to me now, like the sunshine on a spring day after enduring winter.
Taesook Jeong is interested in the harmony between humans and nature. After majoring in oriental painting, she wants to express the flow that penetrates the vitality of humans and nature based on free and lively calligraphy stroke and traditional coloring. Because the experiences of people living in this era overlap with nature, they are very interested in the environment. She also projects the inspiration of nature, which she felt more deeply through travel, into her work. After she received her degrees from Hongik University and graduate school, she taught at the university and worked as a curator in a gallery, leading a number of environmental art projects. After she moved to the United States, she pursued a home, business, and study at the same time. She continued her work at New York University where she completed her art appraisal, and occasionally worked as an instructor on ASIAN ART at the Philadelphia Museum. She currently has large collections of her work at Temple university and Park Townes Place in Philadelphia. Writer Jeong Tae-sook lives with his family and dog Olly in Cherry Hill, New Jersey, looking for little gratification.
“THE VIGOROUS LIFE SERIES
평안함과 편안함 사이”
“그렇게 애쓰지 않으셔도 됩니다.”
매일 저녁 취침 전 틀어 놓는 YouTube 수면 명상에서 나오는 말이다. 나는 이 말이 참 좋다. 마음이 편안해지고 안심이 된다. 중년에 느닷없이 생긴 불면증을 극복하는데 도움이 된다.
지난 내 작업에서 보여지는 과정과 결과물은 치열한 나의 싸움 같았다. 어두운 환경과 벗어나려는 의지, 매 순간을 반복하며 쌓아가는 행동의 결합체이다. 작업을 하면서 고통은 길고 환희는 짧았다. ‘도대체 내가 왜 이런 고통스러운 작업을 되풀이 하고 있는 걸까, 나에 대한 치유의 과정인가, 혹은 자기 연민인가?’ 그 무엇이 되었던 간에 그 대상과 내가 합일되어 감정의 파도에 수없이 휩쓸려 다니다가 어느 순간 그 대상으로부터 나의 감정이 분리 되었다. 감정이 분리가 되니 생긴 상태가 있다. 편안함 혹은 평안함 이다. 한국어에서 두 단어는 앞의 글자 편(便)과 평(平), 두 글자가 다르다. 편(便)은 편할 편과 똥오줌 변으로 쓰인다. 편하다 이외에에 아첨하다, 잘하다, 쉬다, 익히다 등등의 뜻이 있다. 게다가 똥오줌 변으로 쓰인다니, 중국에서 발음때문에 공유하는 건지 아님 배변기능이 편해야 마음도 편한건지 알 수 없다. 그런데 후자는 확실히 연관성이 있다고 생각한다. 평(平)은 평평할 평, 다스릴 편으로도 읽힌다. 평평하다, 고르다, 가지런하다, 편안하다, 정하다, 이루다, 갖춰지다, 사사로움이 없다, 화목하다, 쉽다의 뜻이 있다. 편안하다의 공통점 외에 나머지는 사용처가 확연히 다르다. 안(安)은 편안 안으로 읽히고 즐거움, 편안, 좋아하다라는 뜻이 있다. 이 글자가 조합하여 마음의 심리 상태를 표현한다. 사전적으로 평안은 평화로운 상태, 편안은 불편하지 않고 안정된 상태를 의미한다. )平平平안안
시인 김소연은 ‘마음사전’에서 두 단어의 미묘한 차이점에 대해 이렇게 썼다.
‘우리는 편안함을 좋아한다. 편안한 사람, 편안한 공간, 편안한 시간…… 편안하다는 것은 편리하고 안전하다는 뜻이다. 모든 것이 손끝에 있고 모든 것이 입안의 혀와 같다. 그리하여 어떤 욕구도 없이 이완되어 있다. 평안하다는 것은 평화롭고 안정적이라는 뜻이다. 평화도 안정도 태풍의 핵처럼 정지되어 있으나, 그것을 누리기 위해서는 그만한 긴장감이 필요하다. 그것을 이미 알고 있기에 우리 몸은, 평안한 상태에서 조금의 의욕을 남겨놓고 적당한 긴장감을 유지할 줄 안다. 조금의 의욕과 적당한 긴장감을 유지한 평안함은, 스스로가 속해 있는 관계와 장소, 시간 따위를 잘 영위하기 위해 보이지 않는 노력을 기울인다. 하지만 어떤 욕구도 없이 이완된 편안함은 스스로가 속해 있는 관계와 공간과 시간 등을 돌보지 않는다. 조용한 시골로 가족이 여행을 떠났을 때에 모두가 평안을 느끼는 반면, 집에서 느끼던 나의 편안함에 누군가의 수발이 전제될 때가 많은 것처럼. 나의 편안함은 누군가의 불편함을 대가로 치르지만, 나의 평안함은 누군가와 함께 누리는 공동의 가치가 될 수 있다.
나의 상태가 지금 편안함인가, 아님 평안함인가, 아님 그 중간에 어디쯤인가? 지금 나에게 찾아 온 평안함과 편안함의 사이를 누리고 싶다. 마치 겨울을 지난 봄날의 햇살처럼.
정태숙 작가는 인간과 자연의 조화에 관심을 갖고 작업한다. 동양화를 전공한 그는 자유롭고 기운생동한 필법과 전통적 채색을 바탕으로 인간과 자연의 생명력을 관통하는 흐름을 표현하고자 한다. 이 시대를 살아가는 사람들의 경험이 자연에 중첩되어 살아가기에 환경에 대해서 많은 관심을 갖는다. 또한 여행을 통해 더 깊이 느낀 자연의 영감을 작업에 투영한다. 홍익대학교와대학원에서 학위를 취득 후, 대학에서 강의를 했으며 화랑에서 큐레이터로 일하며 다수의 환경미술 기획을 주도하였다. 미국으로 이주한 후 가정과 사업, 그리고 공부를 병행하였다. 뉴욕대에서art appraisal 을 마치고 작업을 계속하며 간간이 필라 뮤지엄에서 ASIAN ART에 대한 강사로 활동하기도 했다. 현재 Philadelphia 에 있는 Temple university 와 Park Townes Place 에 대형 작품이 소장되어 있다. 정태숙 작가는 가족과 강아지 올리랑 더불어 뉴져지 체리힐에서 사소한 만족을 찾으며 살고있다.
Feb, 14~ March, 09, 2023
Special invitational exhibition
under the title “ out of boundless”
Kim Kang Yong, Sung Ho Choi, D. Dominick Lombardi are three artists I have selected who have been working tirelessly since 1970’ to establish themselves as a modern artists using various mixed media. They are highly active in Korea, as well as USA and Europe and constantly strive to create and seek out new ways of artistic expression.
Kim Kang Yong
D. Dominick Lombardi
Reality + image 2201 - 2081, Mixed media,2022 20x26
Kim Kang-Yong graduated Hong Ik Univ. and Hong Ik Graduate school, formal professor of Hong Ik Graduate school. He is a Korean Asian Modern & Contemporary painter who was born in 1950, conveyed the realities of life in Korea on canvas in a hyperrealist manner in the 1970s. His longtime subject matter, bricks, has now become the artist’s trademark. KIM’s bricks, presented in a neutral and mechanical representation of real bricks, can be considered as Korean reinterpretation of Hyperrealism. KIM’s paintings are so distinctive that they paintings are clearly distinguished from traditional figurative art as well as American Hyperrealism, which the artist was influenced by. Thus, what characterizes his work is not hyperrealist technique – it is simulacre, whereby an image becomes independent from the original, turns far more real than the original itself and functions as its own reality eventually.KIM’s hyper-realistic work, an unprecedented innovation, renders far beyond ‘representation.’ They pose fundamental questions about an ‘image’ and a ‘painting’ hence the artist encourages the viewers to contemplate. Ultimately, the artist delivers a far-reaching question: where is the truth and justice in this era in which history, reality and even the future have been rendered as simulacre? This is why we are so drawn to KIM Kang Yong’s bricks, which may seem like a harsh cold-hearted truth at first glance, as they reclaim sympathy and compassion.
His works are owned by art museums, public institutions, and the National Museum of Modern and Contemporary Art, and can be seen at famous auction houses such as Christie's and Sotheby's.
김강용 작가는 홍익대학교와 동대학원을 졸업 홍익미술대학원 교수 역임, 1970년대부터 현재에 이르기까지 줄기차게 벽돌을 그려왔고, 이제 벽돌은 그의 트레이드마크가 되었다. 실재 벽돌의 중립적이고 기계적인 재현처럼 제시된 김강용의 ‘벽돌회화’는 사실 실재의 벽돌을 모사한 것이라기 보다는 작가 자신의 생각 속에 있는 벽돌을 그린 것이라 할 수 있다. 다시 말해서, 실재 모래를 화면 위에 고루 펴 바른 후, 그 위에 벽돌을 그림으로써 김강용의 벽돌은 실재 벽돌의 ‘리얼리티’를 품고 있지만 벽돌의 재현이나 그림자로서의 이미지가 아닌 추상적 존재로 탈바꿈한다.
김강용의 벽돌 회화는 그 무한 반복과 단순함 속에 수많은 변화를 내포하고, 창조적 파격들을 숨긴 듯 드러내며 관객으로 하여금 사색하도록 권한다. 그리고 궁극적으로 역사와 현실, 그리고 미래마저 시뮬라크르화 한 이 시대에 진실과 정의는 어디에 있는가? 라는 심각한 질문을 던진다. 진실과 허구의 구별이 모호하고, 원본의 의미가 무색한 오늘날 김강용의 차갑고 딱딱한 진실과도 같은 벽돌 회화가 그리워지는 이유가 여기에 있는 것이다. 그렇기에 공허해 보이는 그의 회화 한편에는 왠지 슬픈 듯, 따스한 듯 인간적 연민의 미소가 어려 있다. 그의 작품들은 미술관 공공기관 국립현대미술관등에서 소장하고있으며 유명옥션 크리스티 소더비등에서 작품들을 볼 수있다.
CCWS 110, 2021 Acrylic and ink on paper and oil on Wood panel 14x 42"
CCWS 108, 2021 Acrylic and ink on paper on Wood panel 16 3/8" x 16 1/2"
CCWS 106, 2020 Acrylic and ink on paper on Wood panel 16 1/2" x 17"
CCWS 59, 2020 Acrylic and ink on paper on Plexiglas 12 3/8" x 11 1/2"
The Cross Contamination Series
Artist, writer and curator D. Dominick Lombardi is a painter, sculptor and mixed media artist working primarily in the realm of Pop Surrealism. He has written for numerous publications including The New York Times, ARTnews, The Brooklyn Rail, Juxtapoz, New Art Examiner and Art & Antiques. As a curator, he has presented a variety of exhibitions focusing on the environment, social behavior, identity, food, icons, humor etc. in institutions such as the Morean Art Center in St. Petersburg, FL, the Hampden Gallery at Amherst, MA, the Lesley Heller Workspace in New York, NY, and The Housatonic Museum in Bridgeport, CT. As a visual artist, he has shown extensively in the U.S., in Asia and Europe in solo and group shows. A prolific visual artist, Lombardi’s 45-year retrospective just completed its 3-state tour, traveling from Murray, KY, to Colorado Springs, CO, then to Cortland, NY. The Cross Contamination Series in this exhibition utilizes an abstract field of color overlaid with numerous unique drawings (what he calls ‘stickers’) that are affixed to the surface. The cross contamination of media and purpose offers a dialogue between old and new, progress and tradition, and practice of form versus comic illustration.
아티스트, 작가 및 큐레이터 D. Dominick Lombardi는 주로 팝 초현실주의 영역에서 작업하는 화가, 조각가 및 혼합 미디어 아티스트다. 그는 The New York Times, ARTnews, The Brooklyn Rail, Juxtapoz, New Art Examiner, Art & Antiques 등 수많은 출판물에 글을 기고했다. 큐레이터로서 그는 플로리다주 상트페테르부르크의 모린 아트 센터, 매사추세츠주 애머스트의 햄든 갤러리와 같은 기관에서 환경, 사회적 행동, 정체성, 음식, 아이콘, 유머 등에 초점을 맞춘 다양한 전시를 선보였다. , 뉴욕주 뉴욕의 Lesley Heller 작업 공간, 코네티컷 브리지포트의 Housatonic 박물관. 시각 예술가로서 그는 미국, 아시아, 유럽에서 개인전과 단체전을 광범위하게 선보였다. 다작의 시각 예술가인 Lombardi의 45년 회고전은 켄터키주 머레이에서 콜로라도주 콜로라도 스프링스, 뉴욕주 코틀랜드로 여행하는 3개 주 투어를 막 마쳤다. 이번 전시의 Cross Contamination 시리즈는 표면에 부착된 수많은 독특한 드로잉(그가 '스티커'라고 부르는 것)이 겹쳐진 추상적인 색상 필드를 활용한다. 매체와 목적의 혼합의 교차는 옛것과 새것, 진보와 전통, 형태 연습대 코믹 일러스트레이션 사이의 대화를 제공한다.
Everlasting, 2022 seal ink, lottery ticket on wood 44.5” x 48”
Mist, 2022 seal ink, lottery ticket on paper 25” x 35”
Drawing for Pulse, 2022 seal ink, lottery ticket on paper 18.5” x 42”
Most people making marks on lottery tickets hoping to win monetary fortune. I, instead, depict desire, imagination and state of my mind metaphorically on the ticket. Those often form an ironic counterpoint to the everyday meaning of lottery ticket. As if ordinary people choose numbers for a billionth chance, and as if Asian ink painters focus on achieving superb brush strokes with spirit, I am seeking cosmic energy by printing thousands of dots on the field of lottery tickets.
대부분의 사람들은 물질적 행운을 기대하면서 복권에 점을 찍는다. 나는 그와달리 복권위에 마음속에 담긴 염원, 상상 그리고 정신적 상태등을 은유적으로 시각화한다. 그러한 의도는 주로 복권이 가지는 보편적의미에 풍자적이고 대조적으로 드러난다.
보통 사람들이 수천만분의 일 정도 확률을 기대하면서 숫자를 선택하듯이 그리고 동양화가들이 기운생동하는 붓질을 추구하며 온정성을 쏟듯이 나는 이 세속적 행운의 상징물인 복권들위에 수많은 점들을 찍으면서 신비한 우주적 기운을 찾고 싶다.
Born in Seoul, Korea, Sung Ho Choi has lived and worked in New York City and Bergen County of New Jersey since 1980. He completed BFA at Hong Ik University in 1980 and received MFA from Pratt Institute, New York in 1984. Nearly 45 years, His works have been shown at the many exhibitions in the Northern and Central America and Asia. As a bi-cultural artist, Choi has depicted the experience of being the “other,” of contrasts and complexities of minority existing within a majority. Beyond his creative endeavor, he has restlessly worked as a cultural activist, an art educator and data collector in New York City and the various communities of Bergen County since 1988. He co-founded Seoro Korean Cultural Network in 1990 and organized many cultural events including the traveling exhibition, Across the Pacific: Contemporary Korean and Korean American Art at Queens Museum of Art in 1993.
서울에서 태어난 최성호는 1980년부터 뉴욕시와 뉴저지 버겐카운티에서 거주하며 작업하고 있다. 그는 1980년 홍익대학교에서 학부를 졸업하고 1984년 뉴욕 프랫 인스티튜트에서 석사학위를 받았다. 그의 작업은 지난 45년간 북미, 중미 지역과 아시아의 여러 기관에서 소개되었다. 최성호는 두문화를 오가는(bi- cultural)작가로 다수안에 존재하는 소수자의 복잡성과 대조적 측면을 즉 타자가 되는 경험을 묘사 해왔다. 창작자로서의 노력외에, 최성호는 1988년부터 뉴욕시와 버겐카운티의 다양한 공동체안에서 예술교육가이자 데이터 수집가로서 쉬지않고 활동을 해왔다. 1990년에 서로문화연구회를 공동 설립하고 1993년 퀸즈미술관에서 개최된 순회전 <태평양을 건너서: 동시대 한국미술과 한국계 미국미술>을 포함하여 다양한 문화 이벤트를 기획, 조직하였다.
ACC Gallery presents
"INVISIBLE ROOM", Group show
Jan 17 ~ Feb 11,2023
opening reception 6 to 8 pm, Jan 21 (Sat)
This show examines our interpretations of daily life as it fulfills or rejects social norms.
How do our connections create a sense of play and intimacy? How is connections also a limiting experience? The artists represented here are concerned with the process of gaining perspective on these experience.
Curated by Sunhee Yoon
본 전시는 사회적 규범들을 충족하거나 거부하는 일상에 대한 우리의 해석들을 점검해본다.
여성으로서 사회와의 관계 속에서 어떠한 친밀감을 경험하고 형성하는가 혹은 환경속에서 어떠한 제한적 경험을 하는가?
전시에 소개된 작가들은 이러한 경험들을 토대로 얻은 관점을 제시한다."
1, JeongMee Yoon
Born in Seoul, South Korea in 1969, she majored in painting at Seoul National University, Seoul, photography design at Hongik University, Seoul, and studied at the School of Visual Arts, New York, USA.
Red Face series, Light jet Print
“My work is about (Korean) working woman who have to juggle many roles simultaneously. I write and wipe out ‘KOREAN’, ‘WOMAN’, ‘MOTHER’, ‘WIFE”, ‘DAUGHTER-IN-LOW’, ‘ENDURE’, ‘SURVIVE’, AND ‘DAUGHTER’ words repeatedly on my face with pure red lipstick. Also, I do banal house matters hardly wearing superman costume in another video work. The piece seems deviant, stupid and serious all at the same time as well as ironic, so viewers fell funny, uncomfortable and smirk with bitter smile. The imagery is a little disconcerting.
2, Jihye Baek
Jihye Baek is an artist and photographer born in 1986 in Seoul; She received a Bachelor’s Degree from Kingston University in England and a Master’s Degree from Pratt Institute in New York, U.S.A. Currently residing in New Jersey, she works on photography and mixed-media on the basis of female psychology and sociology.
“My current work in photography and mixed media deals with the abstract experience of motherhood and domestic life. Images of domestic space and surreal still life images reflect on the happiness of life which create a tension between happiness and sense of emptiness; implicitly and explicitly, suggesting psychological disquiet. Metaphorically, my works are a reference to memories based on unexpected emotions.”
“My work employs realistically drawn surfaces of various objects as a sculptural medium. Blurring the line between sculpture and drawing, the work is placed at the conflicting state of being present and represented, and material and immaterial to measure the distance between the physical world and mind.”
Mirror Gazing, 2020
colored pencil on museum board, picture frame buttons, artist's frame.
4, Yukiko Nakashima
My studio practice is an analysis of my identity through unverbalized narratives. I have many stories and emotions untold, just like any woman in today’s world.
The brush strokes are the urgencies. The layering is the scar. The colors are the voices. The drippings are the bodily fluids. The paint blobs are the records of passing time and the open space is the breath taken. The abstraction is the language that I construct to speak my inner most feelings.
I believe it is artist’s duty to continue to speak up, in the manner that she feels is best suited, to say “we are here, and we will not be invisible.”
5, Eunsun Park
Eunsun Park currently lives and works in Seoul. Graduated from the Department of Western Painting at Dongguk University College of Art in Seoul and graduated from the National Academy of Rome, Italy.
Selected as a resident artist program at home and abroad, 'D' International Residency Program (Daemyung Studio), Gana Atelier, Changdong Art Studio 1st, Birla Academy of Art and Culture Residence (Calcutta, Shantiniketan, India), Passages ( Trois, France) and the Cite' Internationale Des Arts.
A Road, a.d.1/10, 80x54.3cm lenticular 2022
6, Julia Wagner
Julia Kadlec-Wagner is Director of the Metro Writing Studio located on the Metropolitan Campus of Fairleigh Dickinson University where she Lectures in Academic and Creative Writing. She earned her Certificate to Teach Writing at Montclair State University while helping to establish their First Year Writing Program.
“I have a powerful connection to language often seeing patterns and images in words beyond their written expression. This fascination was supported and developed through reading, writing, and music. Music, as a language beyond words, provides many narrative possibilities. I love taking words beyond their literal meanings. Playing with language, meaning and nonsense, as well as rhythm, is a rich source of inspiration in all my poetry. “
7, Sunhee Yoon
Born in Seoul, Korea, Sunhee Yoon received her MFA from Pratt Institute. She is an environmental installation artist, and art educator. She teaches at Fairleigh Dickinson University and Manhattanville College. She has had 12 solo shows, as well as group shows in the United States, Korea, and Germany.
“The Living Organisms” presented here, resemble parts of the human body, as well as mountains, clouds, and trees that she combines to symbolize the global environment. Much like the mother-child relationship, human beings also have existing relationships with nature expressed in sentiments such as “Mother Earth” and “Homeland”. Using aluminum wire, pipe-cleaners, felt, and yarn, Sunhee combines the physical and biological bonds humans create, and re-imagines them as emotional ties, and ties we create with the natural world.”