The Island
Byoung Choon Park2010
Korean Art Museum Association
Seoul, South Korea
Park, Byoung Choon, who used a 21st century version of Jingyung Shan Shui (Korean realism landscape) painting, holds a solo exhibition. There are seventeen newly released paintings including the masterpieces ‘Landscape of Hangju-Nammangsan’ and ‘Beautiful Island, Yokjido in Tongyoun’ that has a theme of the primeval forest Gotjawal in Jeju and the view of the Dadohae from the top of Yunhawro, ‘Knowing Dadohae.’ The artist presents the summer landscape by using green on achromatic colored Korean ink paintings that Park has retained intentionally. He will also release drawings with the bold and metaphoric island series.
- Title: The Island
- Creator: Park, Byoung Choon
- Creator Lifespan: 1966
- Creator Nationality: Korean
- Creator Birth Place: Youngdong, Korea
- Date Created: 2010
- Physical Dimensions: w490 x h300 x d200 cm
- Type: Installation
- Medium: Stone, miniature house
- Critic's Note: The artist has been experimenting in this way throughout his practice, always finding new starting points for each work. Such a tendency continues in his recent works. For example, ‘Landscape in My Memory’, ‘Cloudy Landscape’, ‘Dreamy Landscape’, ‘Collected Shan Sui’, ‘Black Landscape’, ‘Unfamiliar Scenery’, ‘Streaming Landscape’, ‘Grazing Landscape’, ‘Blackboard Landscape’, ‘Piled Up Landscape’, ‘Rubber Landscape’ and ‘Ramen Landscape’ are recent works that were derived from this approach. These titles might be just rhetoric expressions, but they contain a semantic purpose and explain how each landscape came to be. For example, ‘Landscape in My Memory’ is connected to ‘Cloudy Landscape’ and ‘Dreamy Landscape.’ The reason these landscapes are blurry and dreamy is because they were retrieved from memories. In these works, based on real-life sketches, Park Byung Choon piled up the motifs he recalled from his own memories. The results are shown in ‘Collected Shan Shui.’ Of course, there is no such thing as a yellow sofa or a red postbox in the real outdoors. Yet the viewer can still enjoy the landscape as if he or she is sitting in the sofa. The painting invites us to look at the landscape from the place where the border between the scenery and real life is eliminated. In ‘Black Landscape,’ the artist emphasizes the contrast between trees in black silhouettes and the road is expressed in the empty space of the picture. In ‘Unfamiliar Scenery’ he contains the throbbing heart we experience when confronted with an unfamiliar landscape. This landscape changes to a streaming landscape as water flows and then passes, like as one is viewing the landscape from a car window. Maybe this is why artists paint landscape paintings? Because, of a desire to freeze scenery in an ephemeral experience, such as with streaming water or passing scenery.
- Artist's Education: Hongik University. Seoul, Korea. M.F.A., Painting.
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