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ATELIER INTERNATIONAL ART GROUP as Carole Jones |
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Unique Offers
Charlotte Segal Weiliang Zhao
MASTER ARTIST
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KYU NAM H
ANA Synthesis of Opposites: Deconstruction/ReconstructionThe Origin of the Neo-Classical Deconstructivism
In an interview in 1987 with Eleanor Heartney, Kyu Nam Han talks: "I live between two worlds. My concern is global." When I am in Korea I interpret Korean Modernism within the Western cultural context and when I am in New York interpreted the western Modernism within Eastern cultural context. I accept all the cultural value criteria and conventional methodologies as ‘perspective’, ‘chiaroscuro’ of the West and ‘passage’ ‘grid’ from the East. I apply Eastern methods on the traditional western perspective painting. I apply calligraphic principles on the Western painting. I recreate new images; new series of pictorial hieroglyphs.”
I look at the nature in search for a series of hieroglyphic structural (1) Figure/ ground; (2) image/ structure (3) signifier/signified (4) inside/outside (5) language/being (6) perspective/flatness together. These ambivalent elements are converging into one single totality. The ontological relativity and meaning variance become one. A sense of totality, Barthes called this “a chain of meaning”; Heidegger, “presence-a meaning of being”; for Husserl, it was “transcendental consciousness”; Unknown Korean Punchong potter it was “writing and painting”. Painting to me is writing and writing (calligraphy) to me is painting. In writing/ painting cityscapes and landscapes are the passages from Structuralism to post-Structuralisms and Neo-Classicism of the West and Neo-Classicism of Sung in China are the elements of starting point of views. My approach to the issues of meaning and truth is the processed perceptions and premises in the fusing and operating of genetics of different cultures that depend upon the drawings and upon these a promiscuous variety of similar sources, from Wittigenstein to Heidegger.
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Atelier International Art New York NY/Chicago/San
Francisco |