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Brainwash, 2008, Acrylic on canvas, 200 x 200 cm

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Brainwash, 2008, detail

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Brainwash, 2008, detail

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Brainwash, 2010, Acrylic on canvas, 200 x 200 cm

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Brainwash, 2010, detail

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Big Present, 2008, Acrylic on canvas, 220 x 200 cm

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Masturbation, 2008, Acrylic on Canvas, 194.5 x 133 cm

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Nine nipples, 2008, Acrylic on canvas, 95 x 193 cm

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Nine nipples, 2008, detail

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playpray, 2009, Acrylic on Canvas, 300 x 130 cm

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The Forty Hours, 2007, Acrylic on canvas, 112 x 162 cm

My working is the interest in the confront of the antinomies that can’t be coexistable each other, and the interest in the crack of life and reality. I study the problems of forms in the deterministic system of thought; especially I try to several the phenomena of control prevailing in the detailed parts of society through the processes of combination of recombination.

Various feelings of joy and anger are to be produced surplus in the process of making relations with outer world. And the ‘surplus’ feeling s forces us to go into the vagrant fancies. Moreover the fancies make a false value combining with other people’s fancies. Vain truth make orders though the ordering system that compelling it, and confines people in it.

I am taking out the buoying image within my brain, and that is why it is the story begun with the fancy of one personal brain. The conflict of value from different cultures produces admission, exclusion and a kind of variant, and the huge canvas is filled utmost with the images containing all these.

Park Kyung Ryul

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Jungwook Kim 2012, Korean ink on Korean paper, 162.5 x 112 cm

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Jungwook Kim 2012, Korean ink on Korean paper, 170 x 116.5 cm

"The silent state of the figures is derived from Jungwook Kim’s way of life. She records every moment of life with her head and mind, and opens herself up to all kinds of forms and methods of life. Like a contemplative and observant poet writing down a line implying thoughts and memories about life, living things, death and people, she delivers her feelings through repetitive brush strokes.

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Jungwook Kim 2010, Korean ink on Korean paper, 168 x 116 cm

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Jungwook Kim 2012, Korean ink on Korean paper, 20 x 20 cm

She thinks and keeps thinking. She covers and keeps covering. She draws and keeps drawing. Like a short line of text can be visualized as all kinds of sensitive images and shapes in one’s head, Jungwook Kim’s work is like a sensitive gift comforting the viewers. She doesn’t have strong likes or dislikes towards the concepts that people tend to define as the opposites, such as beauty and ugliness, good and bad, bright and dark, happiness and anxiety, or comfort and wounds. Jungwook Kim attempts to understand ‘their natural state of being’ and spreads out that very moment of sympathy on paper. Likewise, Jungwook Kim’s unbound way of seeing represents another outlook on the world and gives us a certain shining moment." —Yunkyong Kim

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Jungwook Kim 2009, Korean ink on Korean paper, 162 x 130 cm

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Jungwook Kim 2012, Korean ink on Korean paper, 27 x 21cm

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Jungwook Kim 2008, Korean ink on Korean paper, 162 x 112 cm

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Jungwook Kim 2008, Korean ink on Korean paper, 162 x 111.5 cm

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Jungwook Kim 2008, Korean ink on Korean paper, 145.5 x 129 cm

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Jungwook Kim 2007, Korean ink on Korean paper, 74 x 129 cm

Jungwook Kim was born in Seoul in 1970. She lives and works in Seoul, Korea. She is well known for her ‘black portrait’ series executed in Korean traditional painting technic. The unique sensibility of her painting has already attracted many art people around the world. Jungwook Kim’s art comforts us and we can feel alive by sharing artist’s emotions.

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Face Trace 006, 2012, 24×18.5×21.6㎝, resin, artificial teeth, stainless steel wire, acrylic, aluminum plate, bolt

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Face Trace 001, 2012, 36×22.4×23㎝, resin, artificial teeth, stainless steel wire, acrylic, aluminum plate, bolt

Hyungkoo Lee Solo Exhibition 2012, October 11 ~ November 23, 2012

Gallery Skape is pleased to present the solo exhibition Face Trace of Hyungkoo Lee, the artist who represented the Korean pavilion of Venice Biennial in 2007. Based on the research of physiognomy, Hyungkoo Lee’s new body of work entitled Face Trace is exhibited for the first time in two years. The artist captures his own various facial expressions and intentionally fragments into several parts. By reassembling them according to the studies of physiognomy, he composes totally different figures. Face Trace is created by overlapping skull structures of several human races and different parts of artist’s multiple facial expressions. This process follows the method of facial reconstruction used in forensic science. Positioning himself as the absolutist of creation, being a creator and a creation at the same time, he created virtual figures originated from the reality; referring to the real images to create new images is the process often used in his art making. Although, such transformed figures seem as real people who could exist in the reality. This series Face Trace where the sense of gravity and seriousness is wisely modulated transcends the border between incompleteness and completion. Also it offers the sense of humor and wit that generally lies on Hyungkoo Lee’s art world.

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Lepus Animatus head(muscle attachment), 2015, 85×30.7×27.3cm, pedestal 110x40x40cm, resin, oil paint

An unsettling, bulging eyeball in the intricate mixed-media drawing, A06 (2005-06), greeted viewers at the entrance to “Animatuseum,” Seoul-based Hyungkoo Lee’s New York solo debut. Part cartoon, part scientific study, the image set the tone for the exhibition, which played humor and objectivity off each other, while presenting the findings of the artist’s recent archaeological excavations of pop culture in displays reminiscent of natural history museum dioramas.

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Canis D Animatus(muscle attachment), 2015, 139x96x44.5cm, pedestal 12x140x70cm, resin, glass, oil paint

Distributed throughout Arario’s darkened galleries were examples of Lee’s “Animatus” series (2005-07), wonderfully detailed and realistic skeletons of well-known American cartoon characters, theatrically lit and grouped together in suspended animation. Leading with a spindly right claw and hyper-extended neck is Road Runner in Geococcyx Animatus (2005-06), his beak open mid-“Beep! Beep!” and pursued by the persistent Wile E. Coyote, Canis Latrans Animatus (2005-06). Elsewhere, Jerry flees from a pouncing Tom, and an irate Donald Duck hovers high above his trio of mischievous nephews.

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Anas Df Animatus, 2015, 85.5x88x42.5cm, resin, aluminum sticks, stainless steel wires, springs, oil paint

The fabricated fossils were meticulously crafted in Lee’s workshop out of cast resin after much careful study of actual animal anatomies, preliminary sketches and prototypes, many of which were also on display. Somewhat unexpectedly, the act of translating animations into objects gives these characters a weighty spatial presence, bolstered by the evidentiary authority associated with fossils. Lee’s sculptures make it seem as if the Looney Tunes characters actually walked the earth.

Hyungkoo Lee







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