KANG Ik-Joong 리스트보기 슬라이드보기

  • Three Moon Jars
  • Things I know
  • Installation View at GALLERY HYUNDAI, 2010
  • Things I know (Detail)
  • Installation view at GALLERY HYUNDAI, 2010
  • Mountain (2008, Mixed media on wood)<br>1.392 Moon Jars (2010, Mixed media on Ceramics)
  • Mountain (2008, Mixed media on wood)<br>1.392 Moon Jars (2010, Mixed media on Ceramics)<br>Mountain Waterfall (2009, Mixed media on Wood)
  • Moon Jar
  • Moon Jar
  • Seven Jars
  • Happy World

Kang uses, juxtaposes and assembles various materials from everyday life to represent its varied layers. Depends on the way the variations are positioned, stories can be created and concluded differently. After all, his works contain the variations of different human minds. Connected to this point, Eugenie Tsai, the chief curator at the Brooklyn Museum of Art explains his art as the aesthetics of 'Bibimbop (Korean food with rice and mixed vegetables with seasoned shredded beef)'. Besides, by the moment every single piece is positioned within the grid structure, they play as fabric weaves and sing different variations of stories. However, here we encounter with another important point of his work. Contrary to the single position, each canvas is drawn within a bigger context and show off their own reason to be within. This phenomenon, of course, is occurred by the way how Kang adopts subjects of his creation. Kang's subjects are from his ordinary life. Just like a child, he is curious about the surroundings and absorbs what he sees, just like a Pop Artist. In his early works, he observed New York, life of New Yorkers and objects in New York. What he collected was about the trivial daily things found in New York's transportation, landscapes and fragments brushing his personal memory and hope. Such subjects were represented by images, collages, objects, notes and texts. His canvases, therefore vividly transfer layers of our emotions, such as curiosity, humor, desire and joyfulness. As a result, they are fun, honest and even dynamic. New York and life of New Yorkers represented in the small paintings are referenced from the documentation of his ordinary life; sophisticated moments and traces of remains. Based on the individual’s personal experience and understanding, small paintings can be recognized stronger than others, and the whole structure is approached within its context. Thus, while sustaining the external plainness of a grid formation, the entire structure creates dynamics and rhythm orchestrated by the single powerful existence.

From [Baram eu ro suk ee go, ddang eu ro ee eur ji go (Mingled by the wind, joined by the earth)], Hey-Kyong, Ki(Curator, National Museum of Contemporary Art, Korea)


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