Artist Kim Seong-nam
Kim Seong-nam's series of 'Forest" are the words internalized in his world of unconsciousness.
His 'Forest' is not a space where human beings can breathe but a prototype or a terra before it began to be tamed by human beings. The prototype of the forest is inhabited by a variety of lifes or vanished or healed.
Kim Seong-nam steers not the nature perceived by human beings but the primitive nature, namely the order system of the nature proper. So, some evoking functions are immanent in his works. However, he excludes any conditional scheme or language for evoking. Such signs might well betray his concept 'primitive.' Thus, his 'Forest' approaches us like a more natural forest. It is an enormous life bringing innumerable lifes to birth, while being an object of unfamiliar fear.
Just as the nature does not impose her being on human beings, so do Kim Seong-nam's series of 'forest' not imply any objective, simply suggesting a prototype of the terra. Merely, he guides us to face a prototype of the enormous energy.
Artist Oh Jeong-il
Artist Oh Jeong-il stopped using #1 size brush, and instead, has begun to paint with each single hair. The artist who visualizes the human body hairs says that his choice was instinctive because he wanted to perceive the brush (or brushing) as medium between object and artist and thereby, resemble the object. Hence, the work filling the large canvas with each hair is on the extended line of his world of art being created by researching into the essence of the objects not in terms of their functional aspects but for communication with them. After all, the artist visualizes the equality of 'artist = object = behavior = work.'
Oh Jeong-il's hair is not just a hair. He focuses on the method whereby the thinnest hairs of our human body form a group. What he desires to show is the flow of the world inter-connected in an organic way. And he pursues changed far-, middle- and short-sights and perception through such 'single hair drawing.' Such changed perception explores the mystery of the organic Earth intertwined by Rene Barjavel, while being read in the same visual direction as the deductive reasoning system suggesting a relationship between galaxy and lettuce.
Artist Lee Min-hyeok
Artist Lee Min-hyeok visualizes the urban energy with such urban images as speed, light and group images forming a city. The city he sees is speedy and glowing. So, his touch is shrewd and his color tones are intense. The artist installs in a corner of his studio the lighting fixtures witnessed easily on the entertainment streets of the city. He may intermittently want to feel the vigor of the lights turning around to shine, while working in his studio.
The brush touches fluttering on his works remind us of the past Impressionism works, but his works are different, changed or developed from them, because they explore and visualize the structures of the contemporary stories and lights.
Upon being asked about the clues to his fresh subjects, he answers, "I have just chosen the things which want to be chosen." As he expresses the things which are placed here and there but not well witnessed, his works seem to be familiar to us despite his fluttering touches.
Artist Ham Myeong-soo
Ham Myeong-soo's message is 'painting.' With his own unique painting technique, he contains both micro- and macro-paintings on the same canvas. While Jackson Pollock attempted the action painting in order to show that the process of painting would be an art itself, Ham Myeong-soo projects the painting behavior on his canvas by 'painting the happenings (flowing or splashing paints) again on his canvas unlike Pollock's or other artists' projections. Thereby, the traces of micro- and macro-paintings co-exist in his works.
Ham Myeong-soo's painting behavior is 'a travel' for a careful survey of every corner of the canvas as if he himself were turning into a tiny insect. Artist Ham Myeong-soo attempts to challenge such 're-painting.'