ÀÐÀº±â»ç 0
no img

Search Article 

 

News
Joy
Criticism
History & Theory
¡ß   Issue & Features on Contemporary Art in Korea / Art Theory    ¡ß
The Recovery of the Pictorial Imagination: The Coherence in Myung-shik Cho's Works


Research Fellow   /   2008. 3. 14.
 

The Recovery of the Pictorial Imagination

         The Coherence in Myung-shik Cho's Works


 

                                                             Heui-yeong Yi, Art critic


South Korea has been seen as the various changes and the clash with the different desires in the recent 30years. Most Korean modern artists have tried to represent the one of the desires with his or her works and to follow the changes. Myung-shik Cho has responded to the changes and the desires with the process that he has put the pictorial possibilities into his life and the experience and put the surroundings consisting of

      Form, 2002, aclylic, object, resin on canvas, 147x400

them into his painting. I am interested in his pictorial experiment that he has sustained continuously with his responses to the various reforms.




1.

In the 1980s, Myung-shik Cho finished his professional training to be an artist and than launched into the shows as a professional painter. At that time, most artists in Korea were faced by the choice between the demand of the communication that art should be capable of carrying out the reality of life and the tradition that art should be an extreme experiment of the media's pure system and possibility. Cho neither took a part at the aspect of the choice nor criticized one of them. He has, nevertheless, kept his artistic identity. Now his neighbors and his colleagues remember that he was a representative youth artist in the 1980s.

        Form, 2006, photo, resin, 109.5x73.5

In the 1990s, the crises of art and the end of painting are discussed avowedly in Korea. At that time, the tide of the national development depended on internet and technology made the matter of concern about ecological issue and technological theme expanded and the overcoming of traditional form praised. Cho acted to the new change with the paint derived form the pure painting, and the installation to imply the pictorial space. He applied the object to stimulate the pictorial imagination. He received a kind of invisible object as time or the narrative though he kept his media to be the pictorial characteristic. This makes the neighbors and the colleagues remember that he was a synthesist keeping his artistic identity.

Cho's works are found, recently, as well in his studio and galleries as in the public space. His pictorial experiences in which he works are published and communicated to many spectators. The coherence that he has kept his media without various changes is going to be more obvious than the former times. With the pictorial form to express that he uses the painting or the drawing and the study on the actual surroundings that he concerns with the surface, the edge and the wall, he could responses to his times and transform his experience into visual form.



2.

        From, 2006, 108x74

Myung-shik Cho's media records the artist's labor. The layers and the grains are perceived on the even surface of the synthetic resins. The source of the gestures is supposed on it. It is clear that the surface applied with the traditional paint reveals constantly the painterly as stains, whiplashes etc. His paint is combined frequently with the ordinary objects in the recent works. Applying to the media, the function of object is transform into a kind of painterly episode by the implication of the labor.

His paint does not service to any role as the decorative detail to appeal and as the significant message to communicate. The real objects attached to surface on the canvas or fixed into the synthetic resins are occupied casually in his media. Meanwhile the paint illuminates the artist's actual life with the labor, the adoption of objects illuminates the will facing and selecting in ordinary life. Cho's work is, therefore, a kind of the media recording the physical reality as the labor and the actual life with the experience of selecting will.

When he uses the synthetic resins and paint, he keeps a wait for a moment to make the medium leave unused. Even he applies them to the surface, the wait intervenes to make the surface dried, exposed, and reacting chemically.

Field, 2006, 50x150

The ordinary things selected by the artist such as shellfishes, pieces of photo, nibs, coins, and buttons are fumbled many times by the artist. The things are leaved unused in his pockets, bags and his drawers. Then the objects are finger-marked by the artist. The waiting in the process of painting and the leaving unused of the objects put the artist's spirit into them. The spectator in front of the artist's media supposed to be get the warmth the same as some one feels the warm tactile on a mascot a lover sent him or her long time ago. The gallery space consisted with the media in which a mind indwell stimulates the spectator's memories with the artist's experience.

Cho's media includes as well the surface as the real space where the spectator goes back and forth. The recent works have the many install formats for the experience and the memory. These works are designed to look at them with frontal and straight. The media are supposed to be frame. This offer a reading chance derived from the pictorial space to spectator. This tryout makes the media to contain the spectator and to create the all-inclusive gallery space to share spectator with the memory. The spectator get a chance to retrospect his or her life with the all-inclusive stimulation resulted from the pictorial characteristic.

      The artist





Myung-shik Cho has tried to get variations in the Korean surroundings change rapidly and has responded to them. He has kept the consistency to respond with the labor in the studio, actual experience and his peculiar method combining between material and mind. This carries his media to a synthesis between paint decide the process of the creation and the object found in real life and make spectator stimulated to imagine in the pictorial. He has kept creating the pictorial chance with the contribution to the neighbor without the following of a trend or an assertion. This show offers the spectator a phase of the survival that a personal artist has created and acted at the rapid changes of Korea in the recent 30years.

±â»ç º¸°üÇÔ :   
       ¡ß °ü ·Ã µÈ ±â »ç º¸ ±â
       ¡ß ±â »ç °ü ·Ã ¹® ÀÇ
ÇØ´ç ±â»çÀÇ Áú¹®ÀÌ ¾ø½À´Ï´Ù.
 
       ¡ß Àú ÀÛ ±Ç ¿¡ ´ë ÇÏ ¿©
ARTne¸¦ ÀÌ¿ëÇÏ´Â ºÐµéÀº ¾Æ·¡¿¡ ³»¿ëÀ» ¹Ýµå½Ã ÁؼöÇÏ¿© ÁÖ¼¼¿ä
- ÀÌ »çÀÌÆ®ÀÇ ÀÌ¿ëÀÚ´Â ARTneÀÇ »çÀü Çã¶ôÀ̳ª Çã°¡ ¾øÀÌ ¾î¶°ÇÑ ¸Åü¿¡µµ Á÷,°£Á¢ÀûÀ¸·Î º¯Á¶, º¹»ç, ¹èÆ÷, ÃâÆÇ, ÆǸÅÇϰųª »óÇ°Á¦ÀÛ, ÀÎÅͳÝ, ¸ð¹ÙÀÏ ¹× µ¥ÀÌÅͺ£À̽º¸¦ ºñ·ÔÇÑ °¢Á¾ Á¤º¸¼­ºñ½º µî¿¡ »ç¿ëÇÏ´Â °ÍÀ» ±ÝÇÕ´Ï´Ù.

- ÀÌ ¼­ºñ½ºÀÇ ÀÌ¿ëÀÚ Áï, ȸ¿øµéÀº Á¤º¸¸¦ ¿Ö°î,°³ÀÛ,º¯Á¶ÇÏÁö ¾ÊÀ» °ÍÀ» È®¾àÇϸç ARTne´Â À̸¦ ÅëÇØ ¹ß»ýÇÑ ¹®Á¦¿¡ ´ëÇؼ­´Â ¾î¶°ÇÑ Ã¥ÀÓµµ ÁöÁö ¾Ê½À´Ï´Ù. ¶ÇÇÑ »çÀüÀÇ ¼­¸é Çã°¡ ¾øÀÌ ARTneÀÇ Á¤º¸¸¦ ÀÌ¿ëÇÏ¿© ¿µ¸®, ºñ¿µ¸® ¸ñÀûÀÇ Á¤º¸¼­ºñ½º, ÀçÆǸŸ¦ ÇÒ ¼ö ¾ø½À´Ï´Ù.

- ÀÌ ¼­ºñ½º¸¦ ÅëÇØ Á¦°ø¹ÞÀº Á¤º¸ÀÇ »ç¿ëÀº ÀÌ À¥»çÀÌÆ® ³»¿¡¼­ÀÇ »ç¿ëÀ¸·Î Á¦ÇÑÇϸç ÀÎÅͳÝ,¸ð¹ÙÀÏ µî ÀüÀÚ¸Åü·ÎÀÇ º¹»ç, Àμâ, Àç»ç¿ëÀ» À§ÇÑ ÀúÀåÀº Çã°¡µÇÁö ¾Ê½À´Ï´Ù. ´Ü, °³ÀÎÀû ÂüÁ¶³ª ±³À°ÀÇ ¸ñÀûµî ºñ¿µ¸®Àû »ç¿ë¿¡´Â ¿¹¿ÜÀûÀ¸·Î Çã¿ëµÇ³ª, ÀÌ·¯ÇÑ °æ¿ì¿¡µµ ¹Ýµå½Ã °á°ú¹°¿¡´Â Ãâó¸¦ "ARTne.COM"·Î ¸í½ÃÇØ¾ß ÇÕ´Ï´Ù. (ÀúÀÛ±ÇÀÌ ARTne°¡ ¾Æ´Ñ °æ¿ì¿¡´Â Á¤º¸ÇÏ´ÜÀÇ ÀúÀÛ±ÇÀÚ¸¦ ÂüÁ¶ÇÏ¿© ÇØ´ç ÀúÀÛ±ÇÀÚÀÇ Ãâó¸¦ ¸í½ÃÇØ¾ß ÇÕ´Ï´Ù.)

- ARTne¿Í °è¾àÀ» ü°áÇÏ¿© Á¤º¸¼­ºñ½º¸¦ Á¦°øÇÏ´Â »ç¿ëÀÚ´Â Çã°¡µÈ ¸ñÀûÀ¸·Î¸¸ »ç¿ëÇÒ ¼ö ÀÖ½À´Ï´Ù.

  

¾ÆÆ®³×´Â     l     ÀÌ¿ë¹æ¹ý¾È³»     l     ÀÌ¿ë¾à°ü     l     °³ÀÎÁ¤º¸Á¤Ã¥     l     Á¦È޾ȳ»     l     Á¦º¸/Åõ°í     l     ±¤°í¾È³»