Compulsive Beauty

In Furious Bloom ● At first glance, Space 15th window display is a classic autumn-flower painting in ink. Upon closer inspection, the work is three-dimensional and changing with time: foliage of the chrysanthemums is painted completely black with mo, Chinese ink, while the flowers are left in their bright colors, creating a striking contrast against the black. The inked plants are alive and will grow during the exhibition period, changing the work with time. Mo, Chinese ink, has been the main medium for expression and communication for centuries in East Asia. It embodies all colors, emulates all forms, gives meaning to brush strokes, and aesthetic achievements. Concurrently, black is the culmination of all colors and absent of all light. It is also a powerful symbol of void and muteness. And in this installation, black sumi ink dominates the artistic vocabulary. Rather than a painted flowering plant on paper, the ink is directly applied to the object, in three-dimensional space, with time being the fourth element of change. Chrysanthemum, being the traditional flower used in funerals, is a nod to time passed. While the continual growth and renewal of the plants dressed in black ink is also a testimony to the perseverance and power of being alive. ■ Jennifer Wen Ma

제니퍼 웬 마_Petrified Garden_오스트리아 나무에 먹_2010

제니퍼 웬 마_Petrified Garden_오스트리아 나무에 먹_2010

국화는 전통적으로 장례의식에 사용되고 있는 꽃으로, 지나간 시간의 숙연함을 나타낸다. 국화에 먹물로 옷이 입혀 재탄생되어도 계속적으로 살아 자라는 동안, 인내의 증거 예이며 살아 있다는 것의 힘이다. ■ 제니퍼 웬 마

고산금_Paettaragi (김동인의 소설 인용)_검정 스테인리스에 스틸비즈_160×111cm_2010

고산금_Samll Code of Law_나무패널에 아크릴채색, 인조진주비즈_97×153cm_2010

As Philosopher Nietzsche say Text constructed not only one meaning but also polysemy structure, My work begin with meaning of reader' identity. I am carefully put a pearl bead instead of a letter and it become a line of text liner shape and form of text structure of column and editing of as it is of text composition. I achieve form of interpretation of text or retranslated form. ■ KOHSANKEUM

고산금_Telephone (염상섭의 소설 인용)_종이컵_380×200cm_2010

철학자 니체는 '텍스트는 하나의 의미를 부여하는 것이 아니라 그와 반대로 복수태로 구성되어 있다'고 말했듯이 본인 작품은 텍스트의 다의성으로부터 출발한다. 나는 조심스럽게 진주 하나를 글자한자로 대치시키고 글자는 단어가 되며 하나의 선이 되어 텍스트의 외형적인 형태를 이룬 콜룸, 에디팅된 편집형식으로 구성된다. 그것은 텍스트의 해석뿐만 아니라 텍스트의 재해석의 의미가 포함된다. ■ 고산금

빌리 빌리함손_Ballpen Drawing_종이에 펜_54.5×39.4cm_2010

빌리 빌리함손_Starry night_종이에 마스킹테이프_54.5×78.8cm_2010

I do not doubt the majesty & beauty of the world are latent in any iota of the world… I do not doubt there is far more in trivialities, insect, vulgar persons, slaves, dwarfs, weed, rejected refuse, than I have supposed… I do not doubt interiors have theirs exteriors –and that the eye-sight has another eye-sight, & the hearing another hearing, and the voice another voice. (Walt Whitman) ● From the corner of my eye, I catch a glimpse of a nice piece of masking tape. It is beautiful. I am instantly attracted to its texture and color but most of all how ordinary and mundane it is; its plainness and its utilitarian quality. I reach for it and feel its weight in my hand. It feels good. My mind starts racing and I immediately start wondering, what to do with a giant $4.99 piece of black masking tape? A tape is a tape, is a tape? Really? I buy a roll and leave the store feeling as if I just saved a puppy from the pound. I take it home and play with it for a while; searching for its potential. I put it aside, frustrated by its unwillingness to reveal itself to me, and move on to something else. I come across it weeks, months or years later during some massive house cleaning and instantly it is clear to me; this masking tape was always meant to be an intricate piece of lace or a picture of the night sky. Duuuh! I pair it with a nice, good quality watercolor paper. Nothing is too good for my tape. I get to work and its smooth sailing from there on. I have nothing better to do than place a few thousand pieces of black masking tape on a sheet of watercolor paper. I watch it come together, piece by piece, and feel a sense of accomplishment; I have saved the tape from "nothingness" and re-written its destiny. My process is always the same; I am interested in exploiting the sculptural - and painterly qualities of humble, utilitarian things. I search for beauty in unlikely places. ■ Villi Vilhjalmsson

빌리 빌리함손_Venus_신문 크립, 카피된 사진_27×20cm_2010

나의 작업은 항상 일정하다. 조각적이며 회화적인 겸허한 성질을 발견하는데 흥미가 있고 이것을 실용적으로 조리를 한다. 나는 있을 것 같지 않은 곳에서 보이는 아름다움을 추구한다. ■ 빌리 빌리함손

Vol.20101112a | Compulsive Beauty展-제니퍼 웬 마_고산금_빌리 빌리함손