Dreaming
Dreaming
Ottchil (Korean lacquer), Hemp cloth
Pearl, Gemstones, Silver on wood
162x122cm
2018
Pearl, Gemstones, Silver on wood
162x122cm
2018
Dreaming
Ottchil (Korean lacquer), Hemp cloth
Mother-of-pearl, Pearl, Silver on wood
162x122cm
2018
Mother-of-pearl, Pearl, Silver on wood
162x122cm
2018
Dreaming
Ottchil (Korean lacquer), Hemp cloth
Mother-of-pearl, Pearl, 22K gold plate silver on wood
162x122cm
2018
Mother-of-pearl, Pearl, 22K gold plate silver on wood
162x122cm
2018
“Monochromatic sculptural paintings” with mother-of-pearl embellishments are “crossover works” that embrace the borders between dichotomies. Since the mid-20th century, postmodernism has blurred the boundaries between existing genres of art and various categories of artistic media. In response, I seek to embrace the dichotomies of traditional and modern, Korean painting and Western painting, two-dimensional and three-dimensional, painting and sculpture, and art and function and present them in a new aesthetic language.
On this, art critic Lee Yongwoo said, “Chae Rimm challenged 3-dimensional art with confidence in painting she acquired based on the functionality she had perfected as a jewelry designer. Just as she expanded the realm of craftsmanship by lacquer painting, Chae Rimm recreates lyrical and flexible 3-dimensional sensitivity of sculpture in relief or panels of the past, while controlling decorative nature of jewelry design.”
On this, art critic Lee Yongwoo said, “Chae Rimm challenged 3-dimensional art with confidence in painting she acquired based on the functionality she had perfected as a jewelry designer. Just as she expanded the realm of craftsmanship by lacquer painting, Chae Rimm recreates lyrical and flexible 3-dimensional sensitivity of sculpture in relief or panels of the past, while controlling decorative nature of jewelry design.”
Instead of directly painting the subject on the pictorial plane prepared with the application of repetitive lines of ottchil, I fix mother-of-pearl embellishments in its place, indirectly exposing the image of nature. This transforms the empty space on the two-dimensional painted surface into a three-dimensional space, and the interaction of light and shadow is achieved on the physical surface of the artwork. At first, our eyes scan the beautiful, monochromatic ottchil-painted pictorial plane that seems dreamily peaceful, and then we gradually begin to follow the high sense of tension and flow of energy created by the mother-of-pearl attachments. This tension is heightened through the light and shadow cast on the work. Under light, the mother-of-pearl pieces shine brightly on the ottchil-painted surface like sparkling ripples, and around them, the subtly changing shadows create another “painting” on the painting itself. Such effects transform the monochrome painting into rich, colored spaces and impart a fantastic sense of warmth.
“Sculptural painting” focuses on interpreting and expanding “various possibilities of ottchil painting” rather than approaching it as a new artistic genre. This attempt to push painting to cross over into sculpture and vice versa guides tradition into the future and represents the dreamlike journey of opening up a new possibility of ottchil as hybrid aesthetics.
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