[2011. 04] CULTURE OCEAN April
JIYOON HONG_CULTURE OCEAN April
The artist focuses on the emotions contained within the work by excluding the scale and splendor of the work from the encounter of objects and the meeting of the east and the west during the time. And she pursues positive love. She also expresses the encounter as unfamiliar through the union of unfit things. Today, we will shed light on the artist, Jiyoon Hong.
Who is your favorite author or which artist most you are influenced?
I have been affected by two artists—one is Kim Jeong-hui who is well recognized as the perspectives of the trend of calligraphy and formative arts and the other is Niki de Saint Phalle, who talks about her femininity as a man's absurdity and spiritual haven with a paradoxical attitude and with vitality from the vibrancy of life filled with vitality.
What do you think about the connection between the work and the artist's life?
I usually record memories of life stories or trips in short stories or short words. The text for communicating to me is 'poetry'. As you look at these poems, you can imagine a different form of rhyme and the formality of the writing itself. It becomes an image again and is assembled into one in the editing program. Visual media can be identified with watercolor work in order to visualize sensibility from temporal viewpoint. Because poetry and image are used in formative language when seizing them in one screen, they take into account the implications of direction and meaning as a formative image rather than a purpose of meaning transfer.
What made you choose flowers and birds as your main material?
It is birds. When I lie down on my bed in the second floor I have lived from my childhood, a line of electric wires starting from a pole on the side of the house will pass through the window frame in a square, exactly like a picture. I have always watched one or two doves sitting on top of it with a different face against the background of ever-changing weather, or staying for a while. It was a pleasure to look at the scenery created by birds like a movie scene a long time ago, when it felt charming and romantic and awakened One day in 2001, I painted the feathers and the body of a bird in a workshop using the light and shadow of ink to draw a figure similar to my figure. Swans and ducks that met in the lake near the house of the artist (Villa waldberta) during the German Residence in 2006 stimulated the nostalgia for the exotic and homeland of the country. In 2008, the solo exhibition 'Life is Beautiful' (Chopin-piano concerto No.2, Maestoso). In the summer of 2008, I walked along the road and saw the wings of an emerging bird inadvertently projected in the sun. The wings of the birds reflected in the sun were just rainbow colors and the moment I discovered it, I felt the joy of living life. Since then, he has been drawing rainbow birds and colorful birds from his personal exhibition 'Bohemian Edition' in 2009.The birds with stripes of many colors have become a metaphor of my inner self which is the static of the bird, but at the same time the dynamic infinite possibility and the energy of oriental emotion and joy are maximized. It is the heart of a human, an artist, who wants to be free to be fully assimilated into nature, enjoying a delightful but happy life.
The flowers came from Four Gracious Plants, not from the Western context. In 2004, I presented 'One Million Roses' at the POSCO Museum of Art in the theme of roses. In 2006, I worked on the subject of Four Gracious Plants. in 2007, I presented my work of ‘all the flowers in Singing and Reciting, Romance and Fantasy in solo exhibition.
What are your voices to convey to your visitors through your work?
Rather than concentrate on the scale or glamor of works or the use of various mediums based on oriental paintings, I express emotions on the back, the pursuit of affirmation, the matching of things that are unlikely, and the unfamiliarity of seeking encounters.
Tell us about fusion oriental painting.
Fusion means the fusion of different cultures and the birth of a new one. I wanted to make it easy to approach people with oriental paintings, and I wanted to make oriental painting a reality. I chose fusion as a lecture method that juxtaposes images and typography in design with a form of literary painting in which paintings and writing coexist on one screen.
What is your future direction or plan?
In my work, the encounter between molding and media became the meeting of contents. In addition, paper, pen and ink meet with writing and painting. They also met with images and photos. Basically I like to use the body and I want it to be the beginning and the basic of the work. In addition, I am interested in spatial works such as digital wall-paper, space ceramics, and public sculptures that have recently been applied. Now it is time to meet the emotions of the East and the West. Until now, life, love, and time based on oriental emotion have been big topics. I want to concentrate on women's sexuality through the East and the West. It will not be like feminism \but the story of my mother and me. This work will be the starting point of my future work. Further, the work will not end until I pass away.
Heart and Soul
How much of my work can impress my heart and shake the souls of people? So I would like to ask the question of how long such a work could remain. I want to take it all in my mind, that there is a small stone on one of the mentalities. I hope to accept that everyone is united in each other until the flowers behind the flowers bloom and after the flowers and all of them become one thing. Without fear, freely my work is a spontaneous reproduction of freedom. " " Clouds are flowers, flowers are new, birds are people, people are love, love is a dream, or feel. On the contrary. That's all. Sometimes I want to write and write a lot of messages that tell me the truth about my presence and absence, occlusion and malocclusion.
In the poem of Jiyoon Hong