The Forest in Glasgow's Park I, 2011-2012, Oil on canvas, 105 x 161 cm

The Forest in Glasgow's Park I (detail), 2011-2012, Oil on canvas, 105 x 161 cm

Iceland Landscape I, 2010, Oil on paper,  60 x 74.5 cm ( include frame )

I am interested in capturing the fleeting moments of the uncanny as I experience it during my daily life and travels, when it changes familiar scenes into something special. During my stay in Glasgow, the changeable weather allows me to perceive various appearances of the same place. Intervals of sunshine during the many cloudy days in this city allow me to experience stronger sensations of light and colour, in ways different from Seoul. I have recently tried to capture these unfamiliar moments and to compose my memories into a pictorial space while meticulously exploring different elements of painterly language.

Hyojun Hyun was born in Mungyeong, South Korea in 1983. He received a BFA in painting in 2009 from the Hong-Ik University, Seoul. He is currently working in Glasgow, UK

'floating world' , 'photosynthesis' , 2012 fibers, papers, stainless steel, china ink

The themes of my work are always related to culture and nature.

In my earlier three-dimensional works, I would create images like huge stones floating in space or waterfalls or unknown creatures. However, I now want to experiment with installations that connect more positively with both nature and human society.

'photosynthesis' , 2012 fibers, papers, stainless steel, china ink

This means that my installations can be made using existing architecture or any available space in the city. These installations can be made in nature—incorporating and combining natural materials like trees. My two-dimensional works (paintings) include the same thematic images as my installations.

'photosynthesis' , 2012 fibers, papers, stainless steel, china ink

The elements of my paintings—the light and shadow in the forest, the wind, the clouds, and the waves of the ocean—are drawn from the deep emotions that I feel when I am in nature. I paint using natural pigments.

'floating world' , 2012 fibers, papers, stainless steel, china ink

The space in my paintings is created with active movement and vibrant waves of particles of pigment. These images represent endless space and time in the cosmos and the ephemeral quality of natural energies. I just want to follow these images in my work.

- Myung Gyun You

Cruel Fairy Tales 3 Stainless steel 320×120×170cm 2011

Cruel Fairy Tales 3 Stainless steel 320×120×170cm 2011, detail

Cruel Fairy Tales 2 Stainless steel 185×150×60cm 2011, detail

Cruel Fairy Tales 3 Stainless steel 160×100×130cm 2009

Cruel Fairy Tales 2 Stainless steel 205×62×62cm 2009

Sculpture So Hyun Woo reimagines some of your favorite childhood characters and fairy tales into stainless steel gun drawn apocalypse ready sculptures. This bizarre series titled Cruel Fairy Tales 3, features popular Disney and childhood characters such as Donald Duck, Winnie the Pooh, and Tinker Bell armed to the teeth and guns drawn.

Addict - Meditation 2011 Metal Chain 180 x 190 x 230 cm

Young-Deok Seo received a BFA in environmental sculpture from University of Seoul, South Korea, in 2010. He makes metal sculptures using only bike chain components, comparing the standardization of modern life to the monotonous repetitive movement of the chain in its original function.

Homo Telephonicus 2008 -2 Metal Chain 85 x 85 x 180 cm detail

By repurposing the chain components in his work, he replaces its functionality as a machine part and gives it new vitality and life. ‘I use immobile and cold textured form of a body to express our true nature that turned from the human nature to a property,’ he says.

In 2009, Young-Deok received first place in National Undergraduate and Graduate Students Sculpture Competition. His work has been exhibited in Seoul.

Seo Young Deok

MAYA 1300

MAYA Solo Exhibition featuring Seung Mo Park 
March 8 - April 7, 2012 Opening Reception: Thursday, March 8, 6 - 8 pm 
BLANK SPACE is pleased to present a solo exhibition titled MAYA (generally meaning "illusion" in Sanskrit) featuring selected works of Seung Mo Park. Maya is the third phase in a trajectory of Park's conceptual works dealing with reality, illusion, and existence. Barely possessing materiality of sculpture, or the ideas within them, the idea and conceptualization of MAYA is far from tangible substances.

As part of this third phase of Park's work, he has chosen to work with images of illusion rather than materiality and the results are refreshing. He is faithful to this idea of maya and the truth of people's lives, in his way examining whether our lives are a dream or reality. Further, by naming these works all MAYA followed by a number creates an almost anonymous identity to these women who represent the woman from the artist's dream, therefore giving another example of maya  in these works.

The nascent spark for this new phase of reality vs. dream may be attributed to a dream Park had. In this dream, he met a woman and awoke soon afterwards, confused if the dream was reality or reality was a dream. In fact, he wasn't sure if he hadn't been the subject of the dream for the woman. In order to bring this concept to light, Park held a casting call to find models that looked like the woman in his dream. As he photographed, he worked through a contradiction by asking the model to act the opposite of how things appeared in his dream. This is why the MAYA series women look so sorrowful, as if she had just woken from her dream. In particular, this look of sorrow is both striking and breathtaking in MAYA 7616 and slightly different but equally compelling in MAYA 762 and MAYA 1618.

With his new methodology and process, Park overlaps several layers of steel mesh and rotates them slightly so they are slightly out of line with one another -- leaving a space about two finger widths between. He then sketches the contours of the images of his models on steel meshes and cuts them out, creating a three-dimensionality in these contours. Depending on the viewer's standpoint, the images may look transparent, illusory, or shadowy.

Print Bicycle 2010 Fiberglass, mold, aluminum wire (unique) 150(L) x 74(W) x 95(H) cm

Seung Mo Park

Soft Crash/ aluminum, piezo, arduino / 330x330x165(d) cm / 2011

One of the defining characteristics of Baroque music is the basso continuo. In rock music, the basso continuo -- as represented by the bass guitar -- does not reveal its distinctive tones, drowned out as they are by drums and electric guitars. However, it does serve to add a sense of tension to the piece as a whole. Without that ever-present basso continuo, like the sound of a beating heart, the tension present in Baroque music would never have come to be. Though the basso continuo is nearly imperceptible, the beat of Baroque music owes itself to that sound. This is similar to the style of Tenebrism in Baroque painting. This style is characterized by a powerful contrast between light and dark on the canvas, as seen in the works of Caravaggio. By themselves, the dark backgrounds in Baroque painting may be meaningless to us, not representing any obvious object of perception, but they constitute an unconscious foundation that generates a dramatic sense of tension in the canvas as a whole. In other words, minute elements that are not directly perceived by the consciousness function to create a feeling of artistic tension.

Subsequent Events/ brass, piezo, arduino / 160x300x190(h) cm / 2012

The work of Kim Byoung-ho represents a process of creating a fantasy out of these minute perceptions. Kim gathers very tiny elements, imperceptible to the eye like viruses, and groups them together to create highly sophisticated forms. At first glance, the resulting shapes resemble the kind of ordinary objects and structures that we encounter on a daily basis. But Kim's works possess a tension within them that cannot be found in ordinary objects or simple structures. Like the sound of the basso continuo, microscopic viruses are endlessly bursting forth. Expressed in visual terms, they are like tiny bits of pollen flying through the air. It is for this reason that Kim's works are not simply objects, but fantasies. If they were simply objects, not only would there be no tension present, but no fantasy would take shape either. Fantasy must by necessity carry with it a relationship of tension with reality or the object. - Park Young Wook

Byung Ho Kim

연유 II(in this connection), Mixed Media, 80 x 80 x 230cm, 2012 detail

연유 II(in this connection), Mixed Media, 80 x 80 x 230cm, 2012

Moving / relaxation, Mixed Media, 150 x 130 x 150cm, 2012

Artist, F.R.P,urethane paint , 80 x 43 x (h)45cm, 2010

Monologues are long hours. Work is results that is gotten through process like monolog of life to me. And it will be always lived in a monologue. Artist thinks if result that is detected through method and it of monolog is not left soon completely in his life and work.

That mutter of only one person who my monologs coin sweetish language as monologs as that recite and conversation that expose direction of sight of subjective sensitivity or do derivative plosive same monolog / love in ideal things and realistic collision / as traveler of life that is opposite with viscount pole same meditations / solitude doing on bet making new amusements quiet shout / pale confession etc.. like unavoidable that wait .. Everybody are work and connection monologs that can not but be indited. Such monologs want to be hanged down by one veins strike, and are woken and unite. - Kun ju Kim

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