ÀÐÀº±â»ç 0
no img

Search Article 

 

News
Joy
Criticism
History & Theory
¡ß   Issue & Features on Contemporary Art in Korea / Art Theory    ¡ß
Another Model with Flexibility in This Era : Park Dong-jin's Paintings


Repoter in Seoul, ARTne   /   2010. 1. 20.
 

Another Model with Flexibility in This Era

             Park Dong-jin's Paintings







 
 Part, Dong-jin, the painter

Jang Jun-seok, Art critic, Director of Space Inno





Park, Dong-Jin's paintings are filled with stories and imaginations like an epic poem. Standardized, rectangular forms of horses and trees appear in his paintings and they are likely to represent his aesthetical feelings and memories. From a superficial perspective without taking his will of and direction to creation into consideration, forms which do not seemingly harmonize structurally with one another generate a sense of tension.

 

         COSMOS: Spring Days, 2009, mixed media, 53x65



However, his paintings are appealing in that they appear to convey destructuring and novel messages and represent deviation from the world. As if writers express their thoughts and ideas through sentences and writings, Park Dong-Jin's paintings have a set form that makes viewers feel something from inside and think certain situations continually. Based on his molding ability, Park Dong-Jin has structured and experienced his own world. Furthermore, he has dreamed of entering into an unpretentious and absolute world, throwing himself into limitless time and space.



It is not easy to cast himself into a new world and represent something natural and unpretentious through paintings. Also, it is not an easy task and requires courage to represent himself and a world that he has dreamed of through one moulding on a single plain. Additionally, it is not easy to master a process in which he reveals such intensive, sophisticated and sensitive feelings in a single frame freely and without obstruction.



Without a natural gift of sensitivity and sensibility, it is impossible to represent such a moulding world founded on this age. In other words, he places his basis on the modern life and simultaneously he has an inspiration and aesthetical ability that can be felt only with the expressed sensibility. Such a natural and genuine inspiration is unique and allows us to have a special feeling. It also has a molding with specificity along with unlimited imagination, intelligence and it coexists with images like many modified dreams.
 

    COSMOS-Glory, 2009, mixed media, 45.5x53

For such fantastic and dream-like images, Park, Dong-Jin views rectangular canvas as enormous space. He rests himself upon limitless, unknown mystery in endlessly unfolding cosmos. The numerous, randomly-spaced dots on his rectangular canvas are other entities floating in limitlessly unfolding space. This space can be either a small cosmos or an artificial cosmos.



Another thing of interest is that, as mentioned above briefly, forms and images, which are not likely to harmonize structurally with one another, are being harmonized sensibly and intellectually. Just like walking on strict and standardized rectangles and structures with diagonal lines, a little clumsy white horses, numerous dots marked without thinking, and flowers are such seemingly unharmonious things.



Although his paintings are the structural expressions of disharmony, they have lingering effects of peaceful and sensible feelings and of time- and space-surpassing. Particular sense of space and horses with a unique form inspire viewers with unrestrained imaginations. Some viewers are reminded of the horse on which Don Quixote rode, some the mysterious horse which they saw in their dreams, others the supernatural horse of Chagall, and others a joyful scene of their dreams or a heavenly horse in empty space.



Like this, a series of Park, Dong-Jin's paintings have a conveyance ability that is strong enough to unfold enormous stories intellectually and fantastically and they give us unlimited imaginations. From this point of view, his paintings provide dialectic energy to enable him to communicate with a huge being through moulding space.

 

     COSMOS-Midnight in Summer, 2009

                         mixed media,90.9x65

The horses on the paintings of the painter with affluent imagination have a significant meaning and importance. His horses are different from those of other painters who drew horses previously. The pictorial image of his imaginative horses stems from the image of experimental horses with various angles and feelings as represented in his paintings. A series of his horses, which place value on human emotions and are expressed on the basis of new, modern sensibility, are worthwhile to attract attention from a symbolic perspective.



Forms of his horses are not only an expressive medium to approach to one absolute being but also a link that makes a connection to another world. He uses ordinary horses in the world as a means and attempts to use them to serve as a connecting link to various worlds of art from various viewpoints by representing visual and intellectual imagination and possibility through horses.



Park's horses are not ordinary ones. They are the main source of imagination and freedom deviated from the reality of life. His horses are form-free as they originate from the freedom from the actual. He does not mind people's attention and does not make efforts to draw horses well. His satisfaction will do. His horses have structure alone. Honestly, I am doubtful whether he even strives to draw horses. There are not traces of rough sketches as if he has no will to draw horses from the beginning. Like this, Park's paintings do not settle in the reality. Not the reality and the self, but there exists the truth that surpasses the reality.

 
  COSMOS-Accidental Encounter, 2009

                   mixed media, 90.9x72.7

For this truth, he is not hesitant to exercise all his imaginations with an attitude to overcome existing expressive methods in a contemplative manner. His horses, flowers, and trees are important products created from this basis. They are in theoretical opposition to the artificial world, the natural world, and the real world. They are the means to float into the supernatural world.

They are not the things that we can see in the real world, but the things that exist as entities in cosmos or enormous space.



One thing to keep in mind is that a series of artistic things that Park Dong-Jin has pursued are characteristically different from those of the contemplative world. In his case, he intellectually experiences a certain thing or entity and integrate it into his own artwork. He provides his supernatural experience with a visual point that arises from the self-inspection into the special reality and strives to battle with moulding, coping flexibly with turmoil in soul and shock in consciousness.



The painter, as one person in modern society, unlike people who are not conscious of the scene of life full of miserliness and inhumanity stemming from the selfishness of modern civilization and of the current situation in which metropolitan cities are being fragmented, fully and accurately bewares of these phenomena. He is an allegory artist who stares at his hands with fragmentary pieces from the modern society with surprise. He is a special and unique artist with flexibility who lives in this modern ear but deviates from modernism.

 

 One Person Exhibition by Park, 2010. 1., Gallery Godo, Seoul

±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»