This installation is for the photograph modeling of the . The watercolor painting is pasted on the edge of spiral work. The process of making started from photographing the object with a camera on the floor, where it became a larger-than-life sized photograph from such a low point of view. A series of two-dimensional works have been produced in the same way. started with the question “where is this painting?” Between analog and digital, painting and photograph, object and image, and real and metaphor, the painting should not be under the authority of any one specific genre; it should function as a convertor. It was developed from the idea of paintings expanding their existence.


  • Title: One Way (a) Spiral Object
  • Creator: Tchine, Yu Yeung
  • Date Created: 2000
  • Physical Dimensions: w3000 x h2500 cm
  • Type: Mixed Media and Painting, Installation
  • Medium: Paper, watercolor, tin-color vinyl cloth, glasses, needlework
  • Critic's Note: The Expansion of the Painting In 1969, Tchine, Yu Yeung received a government scholarship from The Fine Art Department of Korea and went to France. Currently, she works vigorously asking the question, “Where is this painting?” rather than “What is this painting?” Over the last fifty years of her career as an artist, Tchine has been exploring this concept. She refers to the biblical story when God asks the human (Dasein), “Where are you?” During this time the human was thrown out of the current place and time. In the studio we grow to understand the painter as they create, we learn to understand the essence and background of what makes him/her. So, where is the painting?” First, Tchine explores relationships like: analog and digital, painting and photograph, object and image, real and metaphor. She digitalizes the analogous world as she paints the photograph; somewhere along the way reality becomes a metaphor. Secondly, Tachine’s paintings depict visual art and the actual body as* art; the process acts as an exploration of people. Lastly, her painting is between, ‘the thing that we don’t paint’ and ‘the thing we cannot paint.’ Tchine draws attention to light, but ironically she doesn’t draw the light. By expressing imagery like leaves, she makes light appear in between the leaves naturally. Tchine includes photographs and moving images to create a work of art and has expanded the genre of painting. More over, she reveals the true meaning of painting, which is not limited to material but more related to the spirit that embraces art as a part of the life. by Sim, Eun Rok Sim (Art Critic), 2011
  • Artist's Education: Seoul National University. B.F.A., PaintingMarseille-Luminy. France. Master's certificate, Arts plastiques.

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