INTENTIONAL INCIDENT  ǵ 쿬 (English text below)

    2015

    

 

     ǰ Ű ü ־ 簡 ǰ ϰ ʹ.

     ǵ װ Ѹ Ҿ ο dz .

     dz ׸ ȿ (represent) ƴ (present)ϰ ;.

 

     ǰ ٽ 쿬 ǵġ ʾҴ 鿡 ο ãư ִ.  

 

    ַ Թ̳ ȭ ĵ װ ̱ Ҿ ̸ Ǵ ̹ ٽ ־.

     ڿ ǵ Ͽ ο ¸ , ̴ ٸ 𰡸 Ű ο 簡 Ǿ.

    ĵ ȿ ϴ ǥ̳ ƴ üμ ڸ ִ. ̵ ϸ鼭

     ϴ ڽ ִ.

    ̼ ǰ ٴٶ ش ִٰ Ѵ, ƴ ƴ϶ ϴ ּ ּ ̴.

    쿬 ȿ ̹ Ǯ Ǹ Ʈ ش.

 

     Whitireia ô ۾ Ϻϰ ִ ȯ ־.

     ڱ پ õ μ ۾ ο ־, ȭ ε ų ־.

    Ư ݱ Ư ȭ Ǫ ٴ, ܿӿ ұϰ νð ƮƮ ¾,

    ־ Ÿ ο ð ־.

 

    ,  

 

 

 

 

    INTENTIONAL INCIDENT ǵ

    I want to let my works be autonomous so they can take on a soul of their own.

    I intentionally poured and blew the paint to create landscapes.

    I wanted to make them present in my paintings, rather than to be represented."

 

    All my works are about finding aesthetics from unexpected traces that I specially produced.

 

    I normally produce each background with lots of turpentine or watery Korean traditional ink.

    The runny paint flows onto the canvas and leaves certain traces naturally.

    I use a hairdryer to blow and dry the background. The traces without any brush-stroke have new shapes through the intentional control, they become

    something that can give other associations and inspirations. They exist on their own positions both neither submerging, nor emerging on the canvas.     

    This shows my own self which is; floating neither submerging nor emerging and un-mixable between Eastern and Western self.

    Although there is no law or rule of art making in this contemporary art scene, I believe in that every artwork has its own answer. Even If there is no answer,

    there will be the best at least. The accidental effect of background image provides me the great hint to solve the question, which is called an art work.

 

    The residency in New Zealand and Whitireia were perfect circumstances that I could completely focus on my work. Unfamiliar volcanic geography, clear sea,

    the very strong contrast of the sun light of winter and long visible distance with the clean air, they opened new perspective to me.

    I could grope for a new direction of my work with these stimulations from the new environment, and develop my ideas through positive conversations with people.

    I wish the ideas can be sympathized by the two shows in Korea and New Zealand.

 

    LEE Hyunbae, 2015

 

 

 


    ۰

    2014

 

     ӿ .

     ߾̶ ϴ װ δ ü DZ⵵ ϰ δ ߻ 𰡰 Ǿ 츮鿡 ֱ⵵ Ѵ.

     4, ִ ۰ ۾ǿ ǰ ϳ ־. װ ΰ̶

    ǰ̾. ۰ Ư ó ó .

    ̴ ۰ ƹ 30 Ҿƹ ׸ϴ ѽø Ƶ ۰ ڽŸ ȭŲ ǰ̴.

     ƹ ۽ ư ۰ ƹ ׷ ó ƹ ׸ϸ ǰ̱⿡

    İ .

    ̰ ̴.

    ð ϴ ƹ ׸ Ƶ ϴ.

    ۰ ȷƮ ó ̴ ó ȥ ʴ´.

    ǽ ӿ ׸ ְ, ۾ ̷ ִ. ǰ ۰ ó η־,

    ̴ Ǻٴ ϴ ۾İ ִ.

    ۰ ǿ ̴ Ϳ ִ. ۰ ϸ ϻ ӿ ͵ ̴ ״ΰ ƴ϶ Ѵ.

    ۰ ǽ ӿ Ǿ ִ ̹ Ӽ Ƴ. ĵ ƲŸ ̹ ұ ð Ÿ ó ̱⵵

    ϰ õâ ϱ׷ dz ̱⵵ ϸ鼭 ϸ ް װͰ ִ. ۰ ̸ ְ Ƽ Ѵ.

     mindscape ڸ dz ǹѴ. Ǯ ڸ Ȱ ð ̴.

    ̹ mindscape ڷ Ͽ ǹ dz , ġ ȭθ ÿ ǽ ƲŸ ִ

    ε鿡 Ÿο ھƸ ų ִ â , ã ޽ .

    ٽ ư . ǰ鿡 ð ڵ Ʋ ̳ .

     ̴ ¡ϰ 󿡰Լ , ¡Ѵ. 뵿 ȣ

     ̿, ̴ ̸, ̰ õ ̿䡱 ߴ. ĵ ߻ȭ ӿ ȥ

    ¡ϴ ۰ õ ǽ ӿ ִ.

    ϴ , Ѹ ִ ۰ ð ٶó ̰ ó Ȳϸ

    ٴϰ 𸥴.

     Ʈ۴ ǥ ȯ

 

 

 


     2012. 6.

     ۾ Կ ־ ϴ ̴. ó ĵ ȭ ޿ ʹ ۾ ſ ߿ ϳ̸

     巯 ش. , , ӵ ׸ ϼʿ ҸǸ ȴ.

     ٵ ? ? ĥ Ӱ ߶Ի߶ϰ ģ ̴ ״

    ȸȭ ȿ ;. ο ׾ ̰͵ ð , ȯ 𸣰

    и ڸ ִ. μ ۵ () ν ȸȭ ü ȴ.

     ߴ īó ȸȭ ο Ѵ.

    2011 3 29 ƹ ư̴. ׻ ġ ʴ ̺ ڱ ãƿ ǰ . ƹ ׷ ½ ̴. 10쿡 ׵ 100

    ׵ ״ Ѱ ϼ̴. ƹ ̿ ִ. ̰ ̴. ̴.

    Ϻ . Ưϰ ƴ, ϻ̰ ڿ ʹ. μ, üμ ʴ´ Ͽ

     ̶ ְڴ°? Ϲ ƴ ƹ ̴.

     ڸ ־ ͵ ׻ ڸ ִ. ϴ ִ и Ѵ. , ڷμ ׵ ðȭ ʹ.

     ÷ ô뿡 ӵ ׸ ϴ. 3D׷ Ϲȭ Ǿִ ô뿡 ðμ ִ ̶ ϱ?

     Ưȿ Ҽ ǥ о. ׷ ׷ ׸ ׸ٿ ִ.

    ʹ ٸ ŷ̴. ó ڱ üȭŲ. ڱ ٸ 𰡸 ø.

     ϻ dzӿ  .

     ׸ , ̴. ̵ ִ ͸ . Ư () ϰų ʰ

     Ʃ꿡 ȷƮ, ȷƮ ĵ, ü( ) (׸ ), () ü() Ű ٴѴ.

 

 

 


    Contents of my works(2009~2011)

    2011. Sep. Hyunbae Lee


   I want to let my works be autonomous so they take on a soul of their own.

    In addition, I am very interested in how a single reality can result in different realities due to many personal reasons.

    For example when I was younger I pointed

    to something wriggling in the sky. However, my friend could not see it. I was seeing floaters, deposits in my eyeball reflecting off my retina.

    It amazed me how the floaters were very real to me, yet my friend could not see them.

   Based on this experience, I came to the conclusion the act of seeing cannot be 100% objective. Can the human eye truly perceive objectively,

    and what does it actually see? This is the basic starting point for my works.

   Initially, I preferred realistic images. I tried to organize and plan every detail about my works from A to Z. However, I was not satisfied with the

    results of this method.     Later, around 2006, I asked myself, Do truly objective images exist? From that point on, my recent works have started

    with this question. I no longer believed that

    a 100% objective and common reality existed; I started focusing on other images which were more strange, mystic, and ambiguous.

    I called these images subjective     and suggestive reality. I would like the subjectivity to be understood as not originating from the artist,

    but rather the work itself. I started researching accidental technique and effect. I produced autonomous effects by casually pouring and sprinkling

    paint onto the canvas, letting the runny oil paint (with lots of turpentine) flow into a design on its own. Using a hair dryer also magnifies the sense

    of space and freedom this technique produces even further.

 


   Autonomous Paintings

    I produced this series by capturing the flashes of inspiration and association triggered by the accidental technique and effect described above.

    I harnessed the same pareidolia that causes us to see a man in the moon. These works might be real cloudscapes up in the sky or unknown universes.

    Like the title is Autonomous Painting, the viewer is allowed to interpret as they wish.

   The color blue is prominent in my works. This color gives me the sense of big oceans and small cells at the same time; the high sky over the sea below.

    The blue background may be inspired by my childhood seaside home, or it might reflect my more recent nomadic experiences traveling above the clouds

    by plane. To me blue means abyss, sky, universe, in and out. The core of the Autonomous Painting series is the process of giving a special meaning to a

    meaningless thing..

 


   Skyscape

    When I go above the clouds in an airplane I get the feeling everything in the world is not a big deal. As long as we live just for the sake of living our

    perspective will be narrow. A small problem will seem too big, difficult, and important. Sometimes I need to remind myself to step back and see everything

    from a better perspective, as when I look out the window of an airplane.

    Although titled Skyscape the images in this series could be interpreted as the ocean floor or even waves on the sea. The exact scale is left to the imagination

    of the viewer. The images could be many times larger than the viewer, like clouds beneath an airplane, or much tinier, like a cell seen through a microscope.

   Like our problems in life, it depends on the perspective of the viewer. Since the scale is meant to be anything but realistic, these paintings induce the romantic

    dream of escaping reality. Ironically, this dream of escaping reality gives me more energy to live in my reality.

 


   Paintscape

    I am not very interested in worldly matters. I do not watch TV news or sports games like other men. I prefer finding inspiration from within myself.

    This is one reason I isolated myself for several years. During that period, I asked myself, What would happen if my works were created in isolation

    from the rest of the universe, like myself? Without any other subject to paint, paint itself became the background, subject, object, the body and soul

    of the Paintscape series. It eats its self and feeds itself. The resulting images of paint are simultaneously readable and unreadable.

 


   Paintorama

    Usually the gallery cannot influence my works; my works are completed far before I know which galleries will house my works. However,

    the Nanji Gallery is different. It has a unique cylindrical shape and I had foreknowledge that I would have a solo show here. I decided to

    make a panoramic landscape. It stretches longer than 30 meters along the entire diameter of the gallery.

   The landscape is a window to the real-world surroundings of the Nanji Gallery. Instead of recreating a realistic image, I intentionally distorted

    the landscape to emphasize that truly objective and realistic seeing is not possible. The audience gets into the painting and sees the world

    from my perspective and how I see the world through my filter.

 

    Colorless Paints

    This series is started with the same sort of idea of the Paintscape. I just wanted to paint only with the paint itself. I regard the paint as an object.

    I am rather interested in the shape of it, than the color in this series. The mass of paint on my palette is like a mountain, organs in our body and so on.

    I removed the color of paint, so that the viewer can recognize the shape of it and get different associations. It could have a freedom to be many different things.

 

    PAINTRAWING

    I believe in my intuition when I start a new work. The first step of my working process, which I fill the blank canvas with my first brush strokes is one

    of the most joyful process and it shows my intuitive sense well. The direction of the intuitive brushstroke, strength and weakness of power,

    thickness and speed of line will be varnished and buried as the painting is progressing. 

    Can I catch something that will be disappeared? Can I drag the feeling of drawing into a painting? Even if they are very rough and not clear lines,

    I wanted to let them really existing in my painting. On top of the realistic background, the free drawing lines are settled down. No matter they are

    the record of past or illusion of imagination, they are surely there anyway. The very vulnerable and sketch-like drawings are having bodies and they

    turn to be the subjects in my painting. I want     to give a freedom to my drawings as well as Picasso did space drawings with light in an empty room.

    On March 29th in 2011, my father passed away. Every unwanted farewell comes unexpectedly early. My father went suddenly like that.

    He said that die in 10 years or 100 years are the same death. Likewise, the death is always beside me. You live if you are not dead and you die if you are not live.

   Thats it. Death is a part of life. I want to regard the death neither dramatically nor specially, but naturally. How can I say something does not exist, even if it has

    not physical body? Not to speak of nothing else, but my father.

    Something should be somewhere it supposed to be. If you cannot see, but something you can feel is there to be sure. I, as a contemplator or over viewer of     

    human beings life, I want to visualize them.

    In this world of hyper technology, I am not a very early adaptor. What can I do as a visual artist in this era? As the technology of the special effect is developing

    and widens its territory of expression, I am rather interesting analogue painting, which is very painting like.

    The first brush stroke on a canvas surface is surely attractive. I visualize the first gestures. Sometimes they remind me something else. Paint masses are melting

    into a very ordinary life.

    Paint is my object, subject, supply or theme at the same time. I think the paint can be anything.

    My paint does not represent certain shape, but it does exist itself in my paintings. It goes and comes from the tube to palette,

    from palette to canvas, from 3-dimension (physical paint) to 2-dimension (supply of painting) and from 2-dimension (color) to 3-dimension (shape).

 

 

 


    Ȯ Ȥ, 쿬 .                                          

    2010. 10.   /

 

    0.

     ָ (attention economy) ô Ѵ. Ʈ ̸ ڵ 1990 ô Ȱ ָ

     ޴  󸶳 ߿ Ѵ. ̵ ָϴ ǥpay attention̶ Ѵ. ָ ִ ƴϴ.

    װ ϴ ̴. Ʊ ̰, Ժη ̴. ָ ɸ ǻ縦 ˹ϴ 󿡰Ը ־ ̴.

    ׷ ָ Ǵ ȭ , ̹ þٰ ؼ þ ʴ´. װ , Ұġ ִ ڿ̴.

    ׷Ƿ ȭ , ̹ ij Ŭ ȸ ȭɼ ȭ , ̹ ָ Ȯ ۿ ,

     ָ ޴ ȴ. ָ ޴ ߿ ̼ ̴. , ð- -ŭ ָ()-

     - ߿ оߵ ̴. Ư Ը Ǿ Ȯǰ ִ ô ̼ 忡 ָ ޴

     ⺻ ǰ ִ. ij ǰ 󸶳 ǰ ָ ϰ ֺη 귯, 󸶳 ǰ ġ

     ü ä ٵ α ָ °. ǰ ׷ 鿡 ǿ ִٰ. ũ

     ԵǴ ùλ ָ . ׷ ű⿡ ư ǰ ָϰ Ǵ ´ٸ,

     ǰ Ȥ ̴ ̳İ ´ٸ, ϱⰡ ʴ. ׸ ģϱ ʱ ̴.

 

    1.

    ̼ǰ ָ پϰ, ô ̼ ؼ ڵ ִ ǽ ǥ ̴.

     ȸ ̽ ð ӿ 쿩ų, ä ƹ ȭϴ ǰ տ 츮 ϴ ȴ.

     츮 ϰ εǾ ִ ð ϰ ĿŰ ǰ鵵 ָ ޱ ̴. ٸ , пǰ ȭ ü ھƻ

    ð ȭϿ ǵ帲ν ָ ޴ ǰ鵵 ִ.

 

     ׷ ǰ鿡 ̷ ǽ ߰ϱ ƴ. װ ǽ ۰ Ϸ ƴϴ. ״ ڽ ǽ

    ǰ ȭ Ͽ ܺη 巯µ ӹŸ ִ ִ. Ȥ ǰ ȣ Ʈ ޿ ߵ ǰ ġ

    ·μ ǽĵ ǽ 巯 ִ ִ. ׷ , ۰ ϴ ұ?

    ̷ ϴ ͵ ڵ /ǽ ƴұ? ϰ 丶Ƽ ϴ ǰ źм

     ϴ λ dz. ׷ IJ ߴ м ۾ ϰ μ θ . Ʈ ڽ

    źм ȭϰڴٰ Ǹ ߴٰ ? ǽ ǽ Űܳ ̳ ̴.

 

    2.

      , ǰ 丶Ƽ ٶ󺸴 ÿ ̴. ״ 2008⿡ 2009⿡  ǰ鿡

        Autonomous Painting̶ ٻ ̸ ٿ־µ, ̸ ǰ ϴ µ εǸ ݻ 丶Ƽ, ڵ

    ̶ . Ǭ ȭ ٴڿ ĵ ȭ ̱ ٶ ñ ۾ Ȯ ̶

    丶Ƽ ٽɰ ִ ó δ. ۰ ٶ ְڰ, ַ ĵ ٱ 

     ̷ ۰ , ߰ſ ̱ ٶ 鼭 ĵ Ǵ ż ۰ ϰ ȭ

    ӿ Ʋ ̴.

 

     ׷ ׷ٰ ؼ ǰ 쿬 ڵ̶ о ϴ. Autonmous Painting鿡 Ȯ Ư¡

    ׷  쿬 ⸦ £ dz ٴ ϰ ̱ ̴. װ οϰ ;ٴ

        ȸȭ    鿡 ݺ ϴ ִ. װ δ , δ ȭ꿬̰,  쿡 ̱⵵ ϴ.

     (ڿ) ȭ ü 쿬̶ ְڴ. ̴. ڳó, Ȥ ȿϴ ͼó ̴ ׸

    ǵؼ ƴϴ. ۰ ȷƮ ¥ װ͵ ׷  Ǿ ͵ ۰ ȹ ۾ ƴϴ. ׷

     쿬 ǰ ȭ ܰ迡 ϴ 쿬̴. װ 쿬 ǰ ȭϴ 쿬 Ÿ ִ. , ȭ,

      ݺν Ǿ ִ. ׷ ʾƵ , ġ ָ ⵵ ϰ â ⵵

     ø µ ׷ ִ ̴. ̰ 쿬 ? 鿡 ϰ 巯 ۰ ԰ ȭ ǽ̴.

    ڿ , δ ̶ 쿬 ѷ Ͽ λ dz.

 

      ǰ ̷ Ͽ ߰ ߰ ָϰ ٷ ⿡ ϴ . 쿬  ̻ ︲.

     ︲ DZ Ǯ Ѵ. ( Ʈ ̷ , ε ¸ ϰ

     ̴.) Ǯ ǰ Ⱑ ʴ.  ؼҵ ְڴ°? 츮 ǰ ̰

    ϴ ؼҵ ̴. ׷ ؼҿ ȭ ſ ְ, ̴. ׷ ¦ ý.

    ǰ ؽƮ ġȯ Ź ?

 

     ̰Ե ٷ ̷ 尨 ӿ, ǰ ṵ̈ ̴ մ .

     ȭ Ų. ð ϰ ϰ Į īӰ . ȭ ɼ ׸ κе

    ð ̰, µ Ͽ Ӱ ϰ ̴. ſ ̴. ſ ,

     ſ ϱ  ̴. δ ġ ƴϴ. ̴.

 

    3.

     ׷ , 򰡴 ǰ ϶ 䱸 ޴´. δ ڵ ظ ϱ , δ ڰ ϱ .

    ׾߸ ͵ . ʴ ̰, ô ߵ ̴.

 

     Autonomous Painting ؼ ϴ ǰ̴. Ȯ̾߸ ǰ ū ̴̴. ׷ յ α׷ ׸ ؼ

    䱸 ϸ鼭 Ȯ Ȯ Ұ ִ ó ̱⵵ Ѵ. θ ۰ Ȯ Ȯ 濡 ִ

    ó δ.<Ʈ> ׿ Ǿ Ķ ˾ ˾ ϳ ν ؾ ߴ , ؼ ɼ

    ϴ , ǰ ϴ Ȥ ġ հ ̷ 𷡾ó , ǰ ̰

    ŻǾ ̴.

 

     ׷ٰ ġ ʿ . ǰ ٿ ؼ ( ؼ) ǰ Ȯ κе ȣġ ׿

    ħ ۿ ٴ ʰ ε, װ ֱ ̴. ǰ ؼ ȹϷ ̰,

    ǰ Ȯ ٽ ǰ ǵ. ־ ؼ ̴. ׵ ż ,

     ڽŸ ٸ ؼ ǰ վ ٶ ̴. ؼ ⸸ Ѵٸ, ؼ̶ 迡

     ϰ  ִ ִ.(ٴ  ǹϴgift Ͼδ ǹѴٴ ̷ο ̾߱⸦ ش.)     

     ٸ پ ؼ ǰ ٶ󺸴 dzӰ ̴.

 

     ׷ ̷ Ȳ ִ. ǰ Ȯ ָ ä ٵ ŭ ϰ . ƽԵ 2010 ǰ

    2008 2009 ǰ鸸ŭ ԰ . ϴ е . ̷ӰԵ, ̷ ǰ ۾ װ ȭ ƴ ٷ

     ä ǰ鿡 . Ųٷ ڸ, ū ǰ, ٷ ٷο ü ۰ Ƴ    ٴ ̴. ׷⿡ 谡 ٽñ

    縮 ū ǰ , е ְ ϱ⸦ ٷ. ѽõ Ȯ о̶ ֹ Ȥ ִ. ׷ ȯ

    ƴϰ ΰ  ̶ ٴ غٸ, ֹ ׷ Ȥ ƴ ?

 

 

 


    PAINTORAMA          

    2010. 7.                    

          

     ƿ ǵǾ°...

 

    W. ߹ óó ׾߸ ̹ ȫ ô̴.

     ̹/ȭ ̹ ȫ ӿ Ű ִ ణ Ҿȴ ̴.

    ȸ ū δ . ƴ , ô Ƽ, Ŷϱ...

    ̹ ...

     ϴ ׸ ̶  ϱ...

     ̷ ִ. μ ̹ ÿ Ϻ () ִٰ ߴ.

     ǰ '' ν ۰μ 繰,  ٶ󺸴, ͷ ɷ ̹ ٽ  Ǵ...

     ٱ ̴ 360 ij󸶿 Ҵ. 30Ͱ Ѵ ׸̶ Ƽ ְ , ϼ̳

    Ȯ ʾ ij ̹ sight specific . ߶Ի߶ ְ ̻ ''

    ġ ʴٰ ִ.   ν ۰ ϰ perspective ְ DZ ٶ.

    2010. 7.

 

 

 


    ȥ ī ⱸ ϴ ° Ƹٿ                      

    2009. 12.   ϰ ̼а

 

     ǰ ȯ̴. ׸ ׷ ȯ ǰ ϴ 츮 ϻ ǿ Ȯϰ ѹ ޼̳

    츮  ӿ ̹ ȭ鿡 ߰ߵDZ ̴. ǰ ġ ϴ £ ̳ ȭ վ ,

    Ȥ Ƹ޹ٳ ü ִ ü ڱ ϴ ó  ִ ź񽺷 巯, װ͵ 츮 ſ ߾̳

     ڱ ش.

 

    谡 ̷ ǰ ϰ ϴ â ٶ Ƽ긦 äϸ鼭 ۵Ǿٰ Ѵ.

     ϰ ϴÿ â ٶ󺸴 ̵ ȯ · εϸ ߾ ,

     . ۰ ̷ ڽ ǰ ϴdz(skyscape)̶ ̰ ִ. ǰ ߻

    迡 ۰ ڿ ̳ Ű õϰ ִ ̴.

 

    谡 ǰ ϴ ̼翡 20 ʿ ۰ ϴ ڵ ϴ. ۰ ַ û迭 ȷḦ

    ĵ 帧  ǰ äѴ. ӿ ۰ ۾ Եǰ

     Ͽ ̾ DZ⵵ ڸ ü ȭ ̹ ׾߸ ̰ ڻ(autonomous) Ϳ

     ΰ ִ. ڵ ڵ ׷ߴ ó ȭ鿡 巯 ڵ ̹鵵 ǽİ ּȭ ǰ

    쿬 ǽ 켱Ǵ ȴ. ۰ 긮 ѷ ̰ 귯 ڱ Ǵ ̹ 󰣴.

     ĵ Ű ü ־ 簡 ǰ ϰ ʹ. ִ.

 

    ̷ ڵ 濡 ǵ µ ִ. ǰ ȯ̸鼭 ī Ҹ ߰ ִ.

    ۰ ʱ ǰ  ü ü Ӹκ ī ǥν ÿ ۰ ѷ Ȳ

     ǥغ ִ. ǰ ϴ Ǫ ְ̳ ٴ幰 ø شٴ ٸ ޲ٷ

    ۰ ǽ ش.

 

     ǽİ µ ̰ µ ִ. ٴ(Dada)  ϴ ׷ ó ǿ

    ̰ 㹫 ǽ Ű ִ. ڽ ڵ̰ ȯ ǰ ̷ ǽ

    Ű ٴ κ ׸⸦ ۰ Ư Ͽ ȯ Ƹٿ Ǵ 

    ߰ϰ Ͽ.

 

     ǰ ִ ŷ ó ȯ̰ ؼ Ͽ ۰ IJϰ ݿǸ鼭 ̰

     ִ  ȭ鿡 ν ̵鿡 ü ְ شٴ ̴. źӰ ̸鼭 ȥ ī

    Ű ǰ ӿ 츮 ȯ Ƹٿ ſ ÿ ִ.

 

    ȭ ⺻ ׸̸ ׸ ׸ ۰ ϴ Ȳ 繰 ǰ սŰ ɷ,

    ׸ ׷ μ ǰ 巯 ۰ 鿡 ޵ ۰ μ ִ. ݱ ǰ

    ̷ ҵ ټְ̱ յǾ ־ٰ ִ. ׷ٸ ǰ 巯 ҵ ۰

     ӵ ִ°, ׸ ׷  , ΰ ٶ 츮 ǽ

     ɵ 巯 ̴.

 

 

 

 


    Autonomous painting-

    2009. 8. ø ̼ ť-̼

 

     ϴ 츮 տ Ƹٿ 巯...ڿ ν ȥ ̶ ȿ ִ Ϳ Ѵ. ȥ â

    پ缺 ǥѴ. Ҵ ȥ ¾, ٽ įį ȿ .޸ Ƽ(Maurice Merleau-Ponty)

     (L'oeil et L'esprit)

     ۰μ տ ƸŸ κ ۵Ǿ. ״  Ҵ þ߸, ܰ Ǵ

     ƴ  ̶ Ͽ. ( Ҵ ̴ ܻ ٸ ̴.) ۰ ð̶ Ǵ ȥչ,

     繰 ڽ ڼ ̹ , ȴٰ Ѵ.

    ΰ ȭ Ȱ Ѹ д ޸ Ƽ ó ڽ ۰ ð ؼ س.

    Ư ׸ų 翡 ϴ ۾ ƴ, ̹ ڽŸ ͷ Ͽ ۾ϱ ׸

     ۰ Ư Բ ϰ Ǵ ̴.

 

    

     ǰ ̴ Ͱ ʴ 踦 ѳ.

     ̴ ϴ ƴ϶ ʴ ̴ ̴ Ŀ Ŭ(Paul Klee) ó, 츮Դ

     DzϰԳ ִ, 뽺 Ǫ ٴ, ϰ Ŵ ϴ , Ҵ ߸ ٿ̰

    źο 쿩 ִ.

    ״ ĵ Ǫ ȷḦ ξ ۾ ݺϴµ, ӿ ״ ΰ ٿ ߻ ̹(ٿ ) ȭ ӿ ҷ̰,

    ǰ 츮 ε ҷδ. ̷ ̹ ü Ǿٰ, Ǫ ɿ Ǵ Ʒ ϴ ̹ DZ⵵ Ѵ.

    ׸Ͽ ̹ ϸ鼭 ߻̸ ̱ ϴ .

     £ ׸ ̸ ź ̹ Ȥϴ ֵDZ⵵ Ѵ. Ͽ ٸ糽 ̾߱⸦ Ķȭ

    ҷ,  ĭŰ(Wassily Kandinsky) Ϳ Ͽ Ķ 츮 ̲, ׸ ñδ

    ʰ Ϳ ׸ ϱ Ͽ.

    谡 ϴ źο صǾ ־ ǰ ҿ뵹ġ . ׷ ̹ ϰ

     Ʈ ִٴ ִ. Ƹٿ ǥϰ ϴ ΰ ۰ ǵ 쿬 źο ü .

    ̴ ۰ 븶 迡 췯 ̹ ׸ ϳ װ ۰ ǥ õ ƴϴ.

 

     Ȯ

 

    ... 긮 ѷ ̰ 귯 ڱ Ǵ ̹ ãư. ĵ Ű ü ־

     簡 ǰ ϰ ʹ١

    - ۰Ʈ ߿

 

    ݱ ۾ 캸 ɻ ٰ   ν ϴ° ̾. ׷ ۾

     п ԰ ̷ ʹ 翬ϴ. 츮 ̷ ǽ ǰ ο ǰ(̹ ° )

    ۾ Ȯ ִ. ̹ ǰ Ƽ ۰ , ׸ ϰ ŴҾ ٴٿ ϴ , ׸ Ҽ

    ϻ ǥ̴.

     ۰ ̷ Ƽ ̹ Ҿ ǵ ʾҴ 긲 ħ ȭ ȿ ν ׷ ߻ϴ ӿ ٸ

    ο ̹ ź  ڱѴ. ̷ ̹ ̸ Ʋ ־, ü ° Ȯ

     ִ Ѵ.

     װ ۾ ׸׸ ü ſ, ῡ , Žٸ, ̹ Autonomous painting ۰ ǵ 쿬

    ο źǸ, ǰ е ְ ִ ߿ ִ. ̹ ÿ ̴ źο ̹ ϸ ο

    縦 帧 ְ ִ. Ư ݱ ڽ 迡 ԰ ϻ󿡱 ȮǾ پ , ׸

     ȭ α Ȯ ư ִ.

    ̼ ο ð Ű ź Ű ɷ ۰ ຸ Ѻ иϴ.

 

 

 


    -Autonomous Paintings-                                  

    2009. June.  Lee, Hyun-bae

    I want my painting to be some kind of autonomous existence by giving a soul and body.

    I am very interested in eye perception and limitation. What range we can call subjective seeing and what is the boundary of imagination...

    Through various     experiments and investigations, I want to build my own expressional area. It has to be achieved neither realistic representation

    of image, nor abstract expression, but, suggesting new perspective.

    I would like to visualize it by connecting aura and energy field of everything, which is surrounding me and visible / invisible things with my inner eye.

    I do not trust human eye any more, I rather want to see the outside world with the third or my inner eyes.

    Autonomous Painting series is a works that I concretely pursue certain traces of flowed and dripped paint. The autonomous images could be real landscapes

    (looking down from airplane), or perhaps mystic spaces. Accidental and momentary idea of association is settled in my brain solidly.

    Blue background could be originated from my contemporary nomadic experiences that I have been wandering through airways a lot, or nostalgia of

    my childhood in seaside.

    Blue is abyss, sky, universe, inside or outside to me. The very fragile and vulnerable mystic and momentary images are placing on top of the backgrounds.

    I want to provide familiar or unfamiliar images to give a clear or ambiguous inspiration by strong catch

    my transient inspiration and visualizations of it.

    This whole process makes my works to be what they have to be and

    this is the core of the Autonomous paintings.

 

 

 


   ۰Ʈ-Autonomous Paintings-                                     

    2009. 6.

 

     ĵ Ű ü ־ 簡 ǰ ϰ ʹ.

 

     ° Ѱ迡 . ٰ ΰ

     ǥ ϰ ̹μ Ȯ ʹ. װ ü ̹ , ߻ ǥ ǥ⵵

    ƴ ο ð ÷μ ̷ ̴. ڽ ϰ, ڽſ  ѷ ȯ濡, ִ , 繰鿡

     ʴ Ͱ ̴ ̹ ų ִ  Ϳ ƿ ãƳ

     ðȭ ϰ ʹ.

     ̻ ʴ´. 3, Ȥ ٱ ʹ.

 

     Autonomous Painting ø Ѹ 기 Ǵ ̹ ã ״ ׷ üȭ Ű ۾ ̴. Autonomous

    ״ ̹ ϴ dz ϼ( ), ¼ ϼ ִ.

    ̵ ۿ, ̵ ü ߰ϰ Ӹ ӿ ڸѴ. Ǫ ϰ ϴ ٳ 븶 迡

    ԵǴ ϼ, ٴٿ ´  ϼ ִ , Blue  ɿϼ, ϴ , ϼ, (inside) ,

     (outside) ִ.   մ ν , ° ٲ ̹ ó ܴϰ

    ڸѴ. ðȭ ̹ ȭ ٵ μ ͼ԰ ȣ ÿ ׷ ϰ ʹ.

    ƹԳ 기, Ȥ ̷ ׾ ڱ ̷ ̹ ״  üȭ Ű ۾鿡

     ׸ , ̷ ϴ ϼǾ μ ٽ ۿ Ѵ.

 

 

 


    The Core: painting the heart of the matter

    Margo Slomp

    2008. Feb.

    Any confrontation with the work of Hyun-Bae Lee leaves no doubt about it: this painter loves to paint. He loves the color, the smell, the flowing,

    the dripping and the drying of paint.  Deep blue watery stains of paint on the edge of a large canvas capture and guide our gaze to the brightly lit center.

    In another one a subtle layering and clustering of ochre suggests the very creation of life. In a series of smaller canvases intriguing shapes like corals float

    the surface. The images look somewhat familiar, reminiscent of underwater worlds or advanced photographic material of the insides of the human body,

    but are clearly no exact representations of these subjects.

    Any conversation with this painter will tell you: he also loves the way paintings touch those who watch them, the way people respond to seeing colors;

    he loves the feelings and thoughts paintings provoke and the conversations they raise. As a South-Korean artist having studied in Western Europe for

    two years the question of differences and similarities between Western and Eastern art is easily put. But he does not want to extrapolate between these two.

    He comes from the latter and has been emerged in the first for some time; they are very different worlds but both present in him and so he has set himself

    the goal to somehow mix and harmonize the two in his work. In his case and for now it means destroying boundaries. Not by ignoring them, but by keep

    moving over and across.

 

    The vast area between spaces that can be seen and can be imagined is the realm of Hyun-Bae Lee. Triggered by tricks of the eye he became interested

    in what and how we see. But the perceived world means so much more to this artist than just the one that our eyes present to us. What if I could see

    inside my head? What if I could travel into space and look beyond? Could these spaces be one and the same? And might they represent something essential?     

    Questions like these inspire him to see, imagine and create space: physical space, but also the ones inside our heads, inside our hearts, reduced to the smallest

     at the level of microbiology, but also expanded to the largest space imaginable.

 

    Visual information and imagination thus get translated into paint. With these materializations Lee is embodying the images he sees before his eyes.

    One simple principle is most important for him: because he can see and imagine these worlds, he can show them to us and therefore they are real.

    Trust your eyes, he seems to say, trust your senses, trust your intuition, and trust your core. For the heart of the matter can be seen.

 

  Margo Slomp

    Art Historian and Core Tutor Art Theory at MFA Painting of the Frank Mohr Instituut, Groningen (the Netherlands)

 

 

 

   The Core: ( : )

 

     ǰ տ ۰ ׸ ׸ ü Ѵٴ Ϳ ǽ ִ. ״ , ƴ϶

    ׸ 긲, Ѹ Ѵ. ū ĵ £ Ǫ 츮 ü ߾ ̲, ̹ Ȳ

    ׸ ̷ ׸ ִ ü ϰ ִ ⵵ ϸ ĵ ۵鿡

    ġ ȣ ǥ ٴϰ ֱ⵵ ϴ. ̹  踦 ϰų

     ׸  Ȯ ƴϴ.

 

    ۰ ׸ ݿ ׸ μ ִٰ Ѵ. 2 ⿡ ģ

    ѱ ۰μ , ٸ 鿡 ߴ. ׷ ״ ̸ ϳ Ҹ Ǵϰų ϱ⸦

    ġ ʴ´. ڽ Դ  ÿ ϰ ۾ ȭ ȭμ 踦 Ѵ. ׿ ־ ȭ ȭ

     踦 ı ǹѴ. ׷ ׵ ƴ ̸ Ӿ ѳ ̷ .

 

       츮 ְ ִ ִ.

    ״ 츮 ԡ ° ϴ 鿡 .

    ׷ Ǿ 繰 ü ٴ ξ ū ǹ̸ . ࿡ Ӹ ִٸ? ࿡

     ϰ ִٸ? ᱹ ϳ ̰ų ? ׸ ׵ Ÿٸ?

    ̷ ۰ Ͽ Ӱ ϰ, ϰ, ٸ âϰ Ѵ. , 츮 Ӹ

    Ȥ 츮 ̻ ּ Ǵ â 츮 ִ ִ ִ.

 

     ð μ ׸ ̵ ִ. ̷ ȭμ װ ⵵ ̹ üȭ Ų.

    װ 踦 ϸ װ͵ 츮 ִٴ װ͵ ¥. ׿ ߿ ٽ̴.

     ,  װ ϴ ͸ . ϰ, ׸ Core . ְ DZ .

 

    ȣ

    ̼ 簡, Frank Mohr Institute MFA ȸȭ Ӱ. δ, ״.

 

 

 


    ۰Ʈ

    2008

    -the Core-

    " ô, ô Ѵ.

    ׸ ϰ ϸ

     δ ٵ ϸ , ¼ ʹ Ƽ 𸣴 浵μ Ѵ."

     κ ϱ Ϻ ο ̴. ֱٿ ϰ ִ ۾ concept ̷ ڽŰ ִٰ ¾

    ٰ Ѵ.

 

     ɿ ׸ ִ.

     Coreø 츮 , ׸ Ȯ  ̾߱⸦ ÿ ִ ,

    ׸ ӿ ִ μ ǥ ߴ. ̹ ȣ ׷ ;.

 

     ׸ ȥ ְ ʹ.

     Ų Ѹ װ ſ ̾ ׷ ⸧ ̸ о ڸκ

    ʴ ߰ κп ڿ μ ׸ ϼߴ. ׷ ׸ ƴ϶, Ḧ ְ Ǵ´ , ڸ

    ׷ ׸̶ ְڴ. ⸧ ԰ ĵ ߽ɺκ ð 鼭 ϳ . ׷ ٸ

    ǥ ϱ⿡ ڽŰ Ҵ.

 

    ĵ ̰ ϰ ׸ ׸. ű⿡ ԰ ׸ ٸ ü ȥ

     ̶ ϴ´. ׸ ü, ģм, ȥ ̴.

 

    ѹ ȥ  ִ. ü ƴ  ε ø  . ó ű⿡

     ʾҴ ̴.

    𰡸 â ־ ٸ ü â ϴ

    װ , ǥ ִ ȥ ϴ ǹ ƴұ Ѵ.

    –2008. 1. -