Symbolism in Poetry by Lacquer Painting
Yongwoo Lee | Art Academic, Professor at Shanghai University
Chae Rimm continuously
worked with lacquer before it became a new form of contemporary art. Creating a
new form of contemporary art was a great challenge that required tremendous
tenacity and extensive experimentation because it was impossible to achieve by
merely changing forms of work or developing new lacquer painting techniques.
First of all, the artist should prove that lacquer painting is an art genre
that can be elevated to the level of non-functional discussion from functional
art through her work, and it should transcend the complex conceptual definition
and boundaries of contemporary art. What is more, theories of contemporary art
tend to delve into experimentation and the zeitgeist with focus on process as well as the political, social, and
cultural independence of the work rather than functional perfection.
Chae Rimm’s ‘lacquer painting’ is firmly rooted in
tradition, but it is also evolving into something wholly original and ever more
diverse. Her art attracts great attention for her elegant handling of lacquer,
traditional craftsmanship underpinned by perfect technique of meticulous
jewelry design, and her willingness to bring crafts and contemporary art
together as one. If contemporary art is provocative fusion cuisine created by
joining experimental, challenging concepts and subversive values of the
material and the non-material, behavior, and the avant-garde, Chae Rimm’s art
is poetic, emotional landscape of savory flavor created by lacquer painting.
Song of the wind in the forest
Ottchil (Korean lacquer), Hemp cloth
Mother-of-pearl, Silver on wood
45x55cm
2016
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