B.F.A Dept. of Paintings, College of Fine Arts, Silla University, Busan Korea
Lee Sun-kyung has been working only on self-portraits since 2004. Not because is the most convenient Model but because she has been interested in drawing human beings since childhood. People can be so beautiful yet also ugly and fathomless; that is exactly what has fascinated her to portait them.
Her early paintings represent scenes telling the story of difficult human relationships. At first, Lee focused on the relationships with others which can either be a salvation or a threat. Than shifted to deal with be difficult relationships within the family, and later focused in confrontation with herself.
Ph.D. in Fine Art in Hong-Ik University, Seoul Korea
MFA in Printmaking/Painting, University of North Texas, Denton, TX, USA
BFA in Painting, Hong-Ik University, Seoul Korea
Chung Mi-Ok chose the line, one of the geometric formative means that does not leave any concrete clues on the surface, as a standard unit of my artwork in the early 2000s, and have repeated and built up my work in this area. Therefore, ‘line’ and ‘repetition’ can be regarded as the key concept of my artworks. She started to be interested in repetition from daily existence in life. The repetitiveness of daily life, and a life that is piled up with such daily lives, as if they are wrinkles. The life of humans, which repeats the above, can be bound together for groups but compiled in different meanings and shapes for individuals. However, she chose repetition as the formative method of my artworks because I thought that there are no repetitions based on identity in any case.
BFA in Fine Art, Dongeui University, Busan Korea
Completely isolated from the surrounding environment, Kim Hae-Jin’s landscapes are neglected ones. Covered with fog, the reality of these landscapes are unstable. They are places which people have abandoned, and some that have never encountered people. This implies to all of Kim Hae-Jin’s depictions including incomplete buildings, burning ones, ivy-burdened buildings, rooftops drawn on canvases, simple drawings and even the large ones done with cement. Yet they do not appear unfamiliar. They could be a scene from anyone’s neighborhood or even a city. It is an image of an alleyway seen while turning one’s head, or a sight of a street encountered coincidentally. Places were people used to live, and play, they are not landscapes with a simple conception on space, but they are spaces conjuring up past memories shared with people. For this reason, Kim Hae-Jin’s landscapes are not neglected ones but they remain simply as ‘landscapes’. They depict the ‘sites’. They do not exist and they will disappear. Look here, in front of us, all that exist in front are ‘landscapes’.
MFA .BFA in Fine Art, Dongeui University, Busan Korea
Suddenly one day a painful memory arises and a sad feeling takes you over. Your face can no longer hold a laughable expression. Your heart so filled with sadness is replaced by the image of falling tears from the sky, and the raincoat protects the sorrow inside simultaneously as shielding the sadness, taking on the role of a protector. I believe that by using a color that is far from expressing sadness is perhaps a better way to deliver my image although I could use a heavy color and remain in that feeling we know as sadness. I am merely trying to hide my true emotions, while also depicting the psychology of someone who wishes to cover the fact that he or she has been hurt. It is no different from that. So the raincoat is worn to avoid the sadness raining in the heart and a bright color is used to hide emotions as a protector for the boy.
The bright colored raincoat is a metaphorical shield and it hides the sadness revealed on the face, expressing irony as it is denying the truth making the pain even more severe.