2022 ART MIAMI
Chae Rimm explores the infinite possibility of pictorial expression through the colors and lines of saekdong based on the traditional Korean color schemes of obangsaek (yellow, blue, red, white and black) and ogansaek (green, light blue, bright red, sulfur yellow, and violet). Saekdong comprises multi-colored stripes that have been patched together. “Dong” in saekdong denotes a single block or stripe, which together, in connection with the characteristics of Rimm’s existing works that visualize color through layering, boldly and sensuously expand Mountains and Islands.
The gap in the spectrum of colors, created by building time instilled in each color block and simultaneously gathering them altogether on a single panel, presents opportunities for meditation and prompts a sense of resonance within us. Here, we witness the cyclical narrative of nature where the principles of giwunsaengdong and jeongjungdong are in harmony.
Arirang Cantabile
Mountains and islands
Mountains and Islands are an installation version of Arirang Cantabile. This work reflects the concept of menhir (standing stone), believed to connect the earth and the sky, and is inspired by stone towers.
Mountains and Islands, which reflect the Asian concept of meditation, borrows the universal object and shape of the cube as a simplified expression of the pious and earnest wishes made when stacking stones one by one. Although the work is simple in shape, Mountains and Islands use the language of color in great depth by reinterpreting the traditional Korean color schemes of obangsaek and ogansaek.
This work displays layered images created through the process of repetition. Using the traditional technique of jitae ottchil, Chae layers ottchil (Korean lacquer) and hanji (traditional Korean mulberry paper) over hemp cloth, and then applies ottchil again to gift viewers a panel teeming with Korean sentiment.
Chae repeats her artistic routine to express the soft energy inherent in traditional elements. She sometimes makes a collage of colored hanji, and at other times, she rips, crumbles, rolls out, or pounds colored hanji on ottchil layers to demonstrate the free use of color, texture, and form. The art that results from such a process displays an alluring matière (materiality) that cannot be expressed by the act of painting alone.
In <Symbolism in Poetry by Lacquer Painting>, Lee Yongwoo wrote, “The texture of the two-dimensional surface of Chae Rimm’s lacquer painting projects an extremely varied and refined sense of beauty created by adjusting the thickness and depth based on the functional perfection of lacquer painting. This unique effect on the surface alone creates a variety of landscapes, and the diverse spectrum of colors reveals a lyrical sensibility.”
Figurative and abstract coexist within the harmony created by the overlapping of hanji and ottchil. Chae effectively demonstrates the beauty of the refined aesthetics that each of their traces create together while not interfering with the other.
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