Eastern mediation, the world of daybreak.
When I stay in studio, which in Gimpo, I think about blank space.
I like room of space and quiet life.
When I see farther, than I feel more calmness.
Sometimes, I remind my hometown, where has Hanramountain and winter thuja.
What is my the most essential sensitivity?
And What can I show in my essential sensitivity?
I'm progress my copperplate print with that questions.
Art is symbol of my desire, and confirm my reason of being. This means that the most fundamental act through the inner essence. And Eastern source is contemplative desire, which I develop steadily, and my communication method, and also contemplative fondness.
In my canvas, generally appear city, mountain, river, and artifacts. That objects makes quietness, solitude. And I add blank space to promote quietness and solitude.
This blank place is desire of express liveral thoght, pass over solitude. Huge space with stable composition which have small one boat, a streetlight makes us to remind harmony with nature. Probably, I want to remind forerunners return of eastern life to apply those ｅxpression.
These days world is full of numerous art styles and act of modern technology media. However, I still progress copperplate print 20 years with theme of daybreak, which opposed to colorful and spectacle societies image. But I'm still thirsty, and I want express more themes. That's why I visit quiet traditional temples and rivers. Those places accept me softly. (River, trees, birds, sound of water and wind, pure air) I'll lead a liberal thought, which hide in profound human mind. Ultimately, that is movement to reach the eastern mediation. (Kang seung hee)
새벽, 명상세계를 찾아 (2012년 개인전)
나의 그림에 나타나는 소재는 대체적으로 도시, 산, 강, 그리고 인공물로 인간에게 정적이고, 고독을 느낄 수 있는 것들이다. 여기에 커다란 여백을 주어 보다 더 허전하고 비어있는 공간으로 표현이 된다. 이 빈 공간은 고독함을 넘어 자유로운 사유를 표현하고 싶은 욕망이다. 안정된 수평적인 구도의 커다란 화면 속에 조그만 배 한 척, 커다란 공간에 조그마하게 서 있는 가로등, 인공물은 자연의 조화를 만든다. 어쩌면 많은 선배들의 동양적 귀의를 생각하게 만들고 싶은 것이다.
현대는 수많은 예술양식과 수많은 첨단 매체로 무장된 미디어 시대이다. 그럼에도 나는 화려한 칼라와 스펙터클함이 넘치는 사회와 상반된 그림양식과 표현매체로 25년을 오직 동판과 새벽이라는 소재로 변함없이 작업을 하고 있다. 하지만, 갈증은 해소되지 않았고 표현하고 싶은 대상도 많이 남아있다. 조용한 산사(山寺)나 강을 찾아 떠나는 이유는 아직도 비어있는 가슴을 채우기 위함이고 거기에 가면 따뜻하게 맞아주는 것들(강, 나무, 새, 물소리, 바람소리, 맑고 티 없는 순수한 공기)이 있기 때문이다. 인간에게 가장 깊이 숨어있는 감성을 건드려 사유하는 자유로운 감각으로 이끌고 싶다. 궁극적으로 동양적인 명상세계로 가기 위한 “몸짓” 이다. (강승희)
Kang Seung Hee's Print
Prototype of Nature, Prototype of Existence
Kho, Chung-Hwan(Art Critic)
Kang Seung Hee has been concentrating herself only
on the type Etching print more than 20years.
He seems to have reached to a certain stage regarding to the etching print, since he has long experiences, different from others. When we see him pictures, Smooth change of tones through aquatint technique in harmony with the black and white monotonous picture and moderate composition gives viewers poetic inspiration and zest, as if we see a piece of brush painting in Indian ink.
Though sometimes cities and recognizable places of Seoul appeared as materials, they could be called as a kind of emotional landscapes rather than actual landscape.
At the same time they are hardly to be regarded as a landscape painted purely through the notion of the artist, because they are filtered out through the eye of heart one time.
In this way, needless to say the natural landscape, city landscape of which substance is relatively obvious becomes abstract halfway, when they are handled by the hands of the artist .And then a certain sentiment which could be called lyric and suggestive internal sound nested in the place. Instead reproducing the sensuously, whether it is a city or nature, beyond it, a tiny boat in the original stable horizontal composed large picture artificial product becomes harmonious with the nature. Probably the artist tried to make many seniors think of oriental conversion, open a certain perspective to define as real existence.
German aesthetician Georg Simmel found the loss of Modern people in the loss of their hometown. The confusion of identity and reason of loss feeling are put down to the loss of the prototype consciousness that conforms a kind of hometown(which itself should be regarded as a kind of basic source, rather than as a geopolitical meaning ).
These loss feeling related with the loss of center of Whitehead, seems to be settled as the popular symptoms of modern people along with the loss of hometown, prototype, essence. Here the task of art becomes self-evident. That is, to suggest, make remind of the lost hometown, prototype, essence and return them.
The perspective shown through the Kang Seung Hee's print and through it the suggested real existence of prototype accord with the task. It, that is to say, prototype existence doesn't exist in the practical existence of things, objects and the world.
It exists in a certain spot which could be met after sensible tunic of the flowing, moving and changing world and looks as if stopped and entirely empty, and exists in the paradox which talks through the empty and at the same time abundant, moving without movement and talks in the silence.
The vision which indicates the paradox is margin an and suggestion. Artist's print is deeply related with the establishment of the space opened by this margin or in it contained suggestive space formation. And solitude provoked by a static picture as if totally empty and the quietness and silence and the gloomy feeling is woven closely with this suggestive space.
The artist is infatuated with the dry point technique for a few years. As is generally known, dry point is the direct engraving method among the engraving methods of etching, and more traditional than the corrosion method which is a kind of indirect engraving method.
As the consciousness of the artist intends to the prototype existence of nature, the process to express it also becomes relatively more fundamental. However, not only insisting the dry point but also tuning it up with the corrosion method properly.
The artist treats most of the important motives using dry point method, and restricts the corrosion method to a minimum. In this way in him recent works, one could find out when, how, in which motive the effect of the direct engraving method and indirect engraving method becomes the greatest. It could be regarded as a certain stage that became possible through long experiences in the simple print of copper plate print.
In the dry point it contains the word spot. if points, it becomes point, but draws , it becomes line. With these points and lines made like the above method, the artist produces prints only.
While dotting with the self-made sharp needle point beating(falling) the copper plate, the artist becomes soon fascinated with the freedom from all thoughts and ideas .
It is similar to the process to ruminate the existence of nature from the bottom of the heart (dismantle and make empty) and then transform it into a kind of prototype existence.
Many dots gathered in this way become a tree, forests, night, darkness and a cosmos. The revealed shape like that could be only recognized as a tree or forests only according to the preconception, in fact, it is close to a large silhouette or organic mass.
By adding a special pigment diamond black to this, pitch- darkness is formed, and a certain zest is added as if confronting abyss from this.
And while drawing the line on the copper plate with the needle powerfully, scrap metal are made around the lines and the artist makes those as the figurative element and maximizes the running effect such as of the brush painting, and obtains more abundant features of lines because of its vague boundary.
At the same time the heterogeneous and the coherent processes like regulating the cohesion of the spreading ink or controlling the wiping level of the excessive ink are gathered and open the certain spot where the real nature and the artist's zest about it infiltrates and the certain perspective called as the prototype existence of nature.
The landscape through the perspective, though it started from the reality, looks like that of mind and intention reflected from the artist's personal emotion rather than the reality itself, symbolic manifestation(another different type of self-portrait)imported from the identity of the artist.
Like this static and quiet, still and empty and abundant distant feeling arises. And boldly details omitted monotonous composition and the suggestive space which the margin occupying the large part of the picture opened, and thus the lines and horizontal lines in bold relief fortify the unrealistic and distant and dim sentiment.
Especially lines and horizontal lines seem to hold the unlimited sea and the sky in them, suggest the border of the reality and unreality, therefore arouse the fear of the nature and the feeling of worship strongly.
These sentiment and feeling is supported most of all by the largely occupied margin and the empty space of the picture. As if the landscape through the paper window adds the poetic zest, this empty space and margin fortify the dominant sentiment of the picture.
Eventually regarding to the peculiar sentiment given off from the picture, from the point of view it could be accounted that the margin with motive plays the more decisive roll. The artist draws this part using corrosion technique practically instead dry point.
Margin looks like a mere white part, but in fact, it looks like blue, as if applied light coloring on the whole picture with almost unseen tiny stains.
The plate is corroded at least, thus clear and (im)material feeling, as if soft and moist air particles could be touched, is perceived. Besides the artist paints peculiar instruments like the roots of various vegetables and scrubber etc. As a result of corrosion of the painting plate, the artist produce the coarse images in a unfixed form, as if an image made by accident. Especially landscape with abundant weeds looking far away or a series of images applying the sensible phenomena of the surface of the water glittering by the pouring sunshine add the natural feeling with the definite reality. With this the special thing discovered in the artist's recent works is many boats are appearing especially. The lonely floating boat might be regarded as a kind of self portrait of the artist, and the portraits of us all.
Generally our lives are compared to a small boat floating in the wilderness of waters. The boat seems to emphasize the static quiet and lonesome sentiment of the picture. It might not a feeling of the artist alone being left in the world alone.It leads us to the chance of self-reflection, or this feeling related with the self awareness saying I am my own Lord throughout heaven and earth make us cope with the endless fundamental world, and stands against the immense silence before the birth of all languages.