Jungfrau 1 Painting

BORN IN SEOUL
IN 1977
PAINTER

My works are inspired by views of especially spectacular city spaces. I want to preserve these images from my perspective, and my motivation is to share my feelings with others through painting. The desire and impulse hoping to express the visible images from city spaces to pictures is caused by a pleasant of sight from spectacles. The artificial structures and spaces are recreated by my formative sense, and the strength of emotions in spectacle blow up on my work. I intend to rouse the audiences to experience the splendor of huge artificial spaces with artificial order. This process is my intention to express the power of affecting from the flat work, just picture, to the audiences with my formative language, by inducing their positive reactions toward my pictures. I recreate the original view by reflecting three-dimensional outward features and by emphasizing flat aspects.
Some examples of my art are a showcase of a shop, a skyscraper or airplane and artificial spaces like swimming pool or airport. My materials are ready made,' giving the process a functional and formative aspect. I concentrate on the superficial appearance of the material rather than on its essential characteristics, which are relative elements between the material and I. My sight for external world was also made between the external and I, not within myself. The human point of view is intimately associated with time and space of the modern city. The main effect of modern peoples sense of time and space is high-speed transportation, and the changed sense of speed lets people move and see at the same time. At high speeds, people only get superficial information about sight. Also, it permits to get only superficial information about sight within the limited hour. The changed sense of speed also causes the change of sense of space because rapid movement expands the space of experience. Also, the visible experience through a window in city space makes people see the subject indirectly and superficially, and the image of a flat, which is lacked of depth, was accepted to focus on appearance than the essence of the subject.
I use the reconstructed and enlarged image of a photo as a rough sketch for transcribing in the surface my canvas or formax. By enlargement, the image may be altered or divided into black and white, and I sometimes accept these effects caused by chance.