가국현 展

[안모경]

『 가국현展 』

아트허브 온라인 갤러리 개관展 :: Painting

▲ Ga Kookhyun

전시작가 ▶ 가국현(Ga Kookhyun 賈局鉉)
전시일정 ▶ 2014. 11. 18 ~ 2014. 12. 15
관람시간 ▶ Open 10:00 ~ Close 19:00
∽ ∥ ∽
아트허브 온라인 갤러리(ARTHUB Online Gallery)
온라인 전시장(Online Gallery)
arthub2@naver.com
www.arthub.co.kr

● Color and Form, The Art World of Ga Kook Hyun Gaining Popularity

★Hwang Sunhyung(Morris Gallery Director & Art Hub President)

Works of contemporary art may be appreciated by their artistry and popularity. Before capitalism emerged, artworks were mainly eval‎uated by a few art historians, excluding the general public. As capitalism flourished however, art-related industries such as auctions, art fairs, and biennales have varied in form, and when works of art were considered an investment, art investors and art lovers grew in number. With this change in the milieu of the art scene, the securement of popularity as well as artistry was regarded as indispensable in the eval‎uation of artworks. Seen from this viewpoint, Ga Kook Hyun’s work is credited as attaining artistry and popularity together, elements contemporary artworks must retain. His pieces gain recognition as superb works completing absolute beauty with a visual aura through the harmony of composition comprised of extremely moderate, succinct lines and flamboyant colors. Still life, landscape, and figure are Ga’s trademark subject matter and subjects with popularity many painters have long addressed in art history.

▲ Ga Kookhyun, one's eyes, 53x45.5cm, Oil on Canvas, 2014

▲ Ga Kookhyun, one's eyes, 100x60cm, Oil on Canvas, 2013

▲ Ga Kookhyun, one's eyes, 100x60cm, Oil on Canvas, 2013

▲ Ga Kookhyun, one's eyes, 100x60cm, Oil on Canvas, 2013

▲ Ga Kookhyun, one's eyes, 100x60cm, Oil on Canvas, 2013

▲ Ga Kookhyun, one's eyes, 100x60cm, Oil on Canvas, 2013

▲ Ga Kookhyun, one's eyes, 100x60cm, Oil on Canvas, 2013

▲ Ga Kookhyun, one's eyes, 100x60cm, Oil on Canvas, 2013

▲ Ga Kookhyun, one's eyes, 100x60cm, Oil on Canvas, 2014

The most fundamental elements forming a work of art are color and form. Ideal harmony between color and form has been a significant topic for painters seeking highest beauty. The role of color and form, and which is more superior, has long been argued, and debates on this issue gave birth to diverse art tendencies. Such debates have origins in two schools of painting, Rubenists and Poussinists, formed in the French Royal Academy of Painting and Sculpture in Paris in 1671.

Underscoring the significance of color, Rubenists asserted that the purpose of painting is “to make things painted look realistic through imitation of life and nature and a dexterous use of colors”. Rubenists include Rubens who established Baroque art, full of ingenious bright hues and vibrant energy (the name Rubenist originated from Rubens), Monet, a founder of Impressionism who captured the colors of objects changing each moment in light, saying “Light is none other than color, Matisse, a prime mover of Fauvism who laid a firm basis for art through distinctive, intense expression‎ emphasizing an audacious juxtaposition of primary colors and color-area effect subtly reviving the relation of complementary color, and Kandinsky, a progenitor of abstract art who explored the spiritual value of art and color, abandoning form.

Underlining the importance of form, Poussinists supported a Platonic idea that ideal objects that can be reconstructed into concrete forms through proper choice of beautiful parts in nature exist in our spirit. Poussinists encompass those who pursued ideal beauty through the composition of proportion and equilibrium, such as Cezanne, ‘the father of modern painting’ who presented a bridging point between classical painting and the painting of his era through a fusion of geometric form and solid color, taking notice of the essential structure and form of objects, and Picasso, a Cubist who attempted the reconstruction of form through its deconstruction.

▲ Ga Kookhyun, 뮤즈의 방, 100x100cm, Oil on Canvas, 2014

▲ Ga Kookhyun, 뮤즈의 방, 100x100cm, Oil on Canvas, 2014

▲ Ga Kookhyun, 뮤즈의 방, 150x150cm, Oil on Canvas, 2014

Despite the advent of the two contrasting schools of painting, Rubenist and Poussinist, the modeling elements of color and form cannot be separated. It is also hard to regulate which element is more superior since color and form are essential and complementary. A work of art is only characterized by what element is emphasized. Nevertheless, a work of art is completed through a complementary relation between color and form. Artist Ga is often called the ‘magician of color’ dexterously exploiting color. A color theorist consistently exploring color, Ga often mentioned color is the most significant factor of painting. It is known that he does his color works only under natural light. Although he puts emphasis on color in his work, color doesn’t seem superior to form in his work. Closely examining his work’s composition, we come to know that he makes use of color and form properly and exquisitely. He creates the ideal beauty of balanced form through succinct lines and moderate composition. The use of splendid, intense hues brings about the ideal beauty of color, free from notional thinking, not subordinated to form.

Still life and landscape paintings, such as Ga Kook Hyun’s, have long been a mainstay of art. They date back to ancient Rome, and spread during the 16 and 17 century, gaining popularity. As trade became increased with the development of navigation, a new merchant class emerged. As a result, the still life and landscape paintings they had a preference for were in fashion as a genre of art, and became the most general subject matter in the 19th century. In a sense, such subject matter is quite banal. However, contemporary still life and landscape painting does not follow the previous ways. The term ‘art’ is always a synonym for ‘newness’. Contemporary artists have to make new attempts to bring life to their work.

Ga’s work always appears new. Despite this newness his work does not cause any heterogeneity. Familiar newness we can never reject is the most significant element his work enabling him to gain popularity. Works of most artists are artistic or popular. It is really hard and almost impossible to become artistic and popular simultaneously. So amazingly, Ga’s work appears artistic and popular at the same time. In addition, his work clarifies his artistic identity. His work’s artistry is attained through color and form, and familiar themes are adopted to secure popularity. With this he produces his trademark paintings. A large number of artists wander around the point between highbrow art and lowbrow popularity. It is really hard to become known as a superb artist.

▲ Ga Kookhyun, 걱정마세요, 100x100cm, Oil on Canvas, 2014

▲ Ga Kookhyun, 기다립니다, 100x60cm, Oil on Canvas, 2014

▲ Ga Kookhyun, 꿈꾸던 곳, 100x100cm, Oil on Canvas, 2013

▲ Ga Kookhyun, 사랑의 결실, 61x61cm, Oil on Canvas, 2014

▲ Ga Kookhyun, 사랑합니다, 100x60cm, Oil on Canvas, 2014

▲ Ga Kookhyun, 언제 오시려나, 100x100cm, Oil on Canvas, 2014

Ga Kook Hyun is also like a potter who produces ceramics with the brush. His work is often featured with ceramics: ceramics with various uses such as vases, tea ware, dishes, and teacups. I know that his frequent use of ceramics as his subject matter is quite natural because he has a strong preference for ceramics, and there may be models of such ceramics. But, the ceramics were ones he had fashioned in his imagination. The ceramics that seem produced by the brush closely resemble the artist. The artist always appears candid, comfortable, and artless as the ceramic in his work. His pieces have humane qualities and offer solace. As his art comes to a ripening stage, he will have a heyday. I ask him to be the artist who fiercely pursues true art without being settled in reality, as he has done so far. I will keep watching the progress of his art. ⓒ