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Linzi Lynn

February 1, 2013, 7:11 am
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"Linzi’s original art is in acrylic on canvas. which she reproduces from her original paintings using the extraordinary Giclée digital process on archival canvas. Limited edition Giclées are individually hand-embellished, signed and numbered.
Biografia
Linzi Lynn knew from an early age she was going to be an artist; however, she thought it was just going to be a performing artist. Her parents had sent her to theatrical school when she demonstrated as a young child, a talent for finding drama in the everyday. In 1973, Linzi began channeling her artistic creativity into painting. Her theatrical background helped her to be sensitive to the emotions of her subjects, which she was then able to transfer onto canvas. She says that "both visual art and theater are forms of creative expression, inspiration and entertainment."

One of Linzi’s commissions was by the National Rural Letter Carriers for a pencil portrait of Benjamin Franklin. The subtle soft realism that can come from her pencil is in surprising contrast to her most recent bright, expressionistic paintings. Capturing a special moment in someone's life is what Linzi most enjoys, and she has done this for numerous private clients and welcomes additional commissions. 

A native of London, Linzi came to the United States in 1992. After living in Maryland for a number of years, she now calls Los Angeles, California home."







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Anna Taut

February 1, 2013, 10:02 am
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ANNA TAUT was born in 1984 in Warsaw, Poland. She graduated Faculty of Painting from Academy of Fine Arts in Gdańsk in 2009.





Urodziła się w 1984 roku w Warszawie. Dyplom wydziału malarstwa Akademii Sztuk Pięknych w Gdańsku uzyskała w 2009 r. w pracowni prof. Macieja Świeszewskiego. Aneks w pracowni malarstwa ściennego i witrażu pod kierunkiem dr hab. Jacka Zdybla. W sztuce interesuje ją przede wszystkim człowiek i sposoby wyrażania jego indywidualności. Jej wypowiedzi oscylują od wnikliwego, analitycznego, malarstwa laserunkowego przez ekspresyjny wielkoformatowy rysunek eksperymentalny, aż do wyrażania się poprzez ruch i taniec. Fascynuje ją także praca ze szkłem artystycznym jak i ingerencja w przestrzeń poprzez sztukę muralu. Uczestniczyła w wielu wystawach, warsztatach i plenerach a obrazy jej autorstwa znajdują się w wielu prywatnych kolekcjach. Aktualnie mieszka i tworzy w Gdańsku.






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David Oliveira

February 1, 2013, 11:05 am
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David Oliveira (1980, Lisbon) degree in sculpture and a postgraduate degree in Artistic Anatomy by the faculty of Fine Arts in Lisbon, won the 1st prize for sculpture in 2009 Young Artists of Aveiro, premium revelation D. Fernando in 2010 and is one of the Young Artists selected for the 2011 Lisbon. It is represented by the gallery since 2005 Serrenho Peter has participated in art fairs such as national and international Santander 2010, 2010 and Swab JustMad 2011. Currently developing artistic projects in Portugal, Spain, UK and Turkey.











David Oliveira (1980, Lisboa) licenciado em Escultura e pós-graduação em Anatomia Artística pela faculdade de Belas Artes de Lisboa, venceu o 1º prémio de escultura Jovens Criadores de Aveiro 2009, prémio revelação D. Fernando em 2010, e é um dos seleccionados para os Jovens Criadores de Lisboa 2011. Representado em Portugal pela galeria 111. Tem participado em feiras de arte nacionais e internacionais como a de Santander 2010, JustMad 2010, Swab 2011 ou ARCO 2011. Actualmente a desenvolver projectos artísticos em Portugal, Espanha, Reino Unido e Turquia.














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Takao Ono

February 1, 2013, 3:34 pm
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Born in Iwate prefecture in 1950. 
Since 1971 residing in Italy. 
From 1977 to 1985 participated in the restoration of art museum collections and frescoes in churches throughout Italy. 
Of special notes were restorations of the works of Cimabue and Giotto at San Francesco Church in Assisi. 
In 1980 graduated from the Instituto Centrale di Restauro di Roma, painting program.
















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Maurizio L'Altrella

February 2, 2013, 3:01 am
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Maurizio L’Altrella was born in Milan in 1972. He left school early to work only to realize that his true vocation was painting. He went to evening classes to pursue his passion and eventually quit his job to focus on his art. Since then, L’Altrella has held a variety of shows, attracting the attention of collectors and critics.
In his early work, L’Altrella explored the world of childhood and adolescence. These oil and enamel panels show his young subjects partially consumed by the surrounding canvas and merging into their depths. The figures in his latest works are adults depicted with the heads of donkeys. The animal acts as a metaphor for a character type that interests the artist: honest, hardworking and well-meaning but at the same time, ‘blinkered’ and stubborn, trapped by its own narrow vision and conventional mindset.



















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Ruth Shively

February 2, 2013, 8:29 am
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Ruth Shively


EDUCATION

university of nebraska – lincoln
bachelor of fine arts






















RELATED WORK EXPERIENCE

1992-94
studio assistant
steven gaurnaccia illustration studio
new york ny









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Andrew Kinsman

February 2, 2013, 10:37 am
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Andrew Kinsman, Artist & Musician

Self-taught artist and musician Andrew Kinsman, sold his first piece of artwork when he was only twelve years old. He has painted commissions for celebrities and royalty alike, and has recorded soundtracks and albums with music novelties such as Noel Gallagher and English Rock Band, Kasabian. Currently living in North London, after years spent in Cambridge, Bath, Bristol and Cyprus, Kinsman continues to passionately practice both art forms, dividing his time equally between the advancement of his musical career and continuing to acquire new and reputable art commissions.

It was during his formative years as an artist that Kinsman drew inspiration from a collection of books his parents owned entitled, Great Artists. Within this collection, he found himself innately drawn to landscape painting, particularly to the works of English Romantic painters, John Constable and J.M.W. Turner. He also became interested in the use of symbolism and the incorporation of mythology, utilized by the Pre-Raphaelites and the Aesthetes of the 19th century. As his art progressed, his technique becoming more refined, Kinsman turned his focus towards the 17th century Dutch School; it was within this genre that he found a deep appreciation for intense colour palettes, captured drama, and the realism associated with, and well accomplished by, the Dutch Masters. The trait Kinsman finds most captivating, which still influences his painting to this day, is the “ability to create a snapshot of real life;” to be able to physically paint the surroundings, emotions and thoughts enveloped in a single moment. After his first major exhibition, aged twenty-one at The Victoria Art Gallery in Bath, Kinsman abandoned his art completely at twenty-five, to focus solely on his music.

In the following years, Kinsman devoted himself to the development of his musical talent and education. He began with the saxophone and would eventually learn to play the clarinet, flute and piano as well. Working long hours on an assembly line in a factory, Kinsman would bring his saxophone to work, transforming the cold room into a practice studio during his time off. Eventually he saved enough money, enabling him to terminate his contract at the factory and went on to play as many music venues as possible, gracing stages and recording studios in Cyprus, Italy, and throughout the UK.

As a result of his natural talent, Kinsman went on to build an impressive portfolio, playing and recording with noted bands from the British Pop/Rock scene including The Levellers, The Specials, Gruff Rhys from Super Furry Animals and ‘Girls Aloud’ Nadine Coyle. In 2010 he was invited to go on tour with English Rock band, Kasabian, completing the horn section with trumpeter and original band member, Gary Alesbrook. Kinsman has played at a number of infamous venues, including The London Coliseum, Brixton Academy, the Barbican centre, the V-Festival for 85,000 people to name just a few. He’s also recently recorded on both Kasabian and Noel Gallagher’s new albums. In 2010, Kinsman was featured on the soundtrack of London Boulevard, a film starring Colin Farrell, Keira Knightley, and Ray Winstone, having recorded the theme song, ‘The Green Fairy,’ with Kasabian.






Eventually, it became apparent that Kinsman could no longer suppress his artwork for his music, realizing the necessity of both creative outlets in his life. He took up painting again, completing commissions for His Highness Sheik Mohammed, Sultan Al Thani of Qatar, American actor, Rolf Saxon, and celebrity chef, Eric Lanlard. Following his work for Lanlard, Kinsman was commissioned by London’s Halcyon Gallery in 2011 to paint a distinguished portrait of the Hariri Family, Lebanon’s wealthiest and most powerful ruling family. He was also asked to paint American actress, Elisabeth Moss, while she was in London performing Lillian Hellman’s, The Children’s Hour, alongside British actress, Keira Knightley.

He has been awarded numerous prizes for his artwork, including the Holburne Portrait Prize 2006 and 2010, BP Portrait Prize 2008, and the RWA Academy Painting Exhibition 2009 and 2010. He was one of thirty-five artists featured on the BBC2 Documentary, “Show Me the Monet” (Episode 7, 2011), and exhibited in May 2011 at the prestigious Royal Academy of Art in London. Kinsman moved to North London in 2011, where he continues to pursue both his musical and artistic careers.






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Katy Sullivan

February 2, 2013, 10:57 am
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Katy Sullivan is a portrait artist based just north of Cheltenham on the Gloucestershire Worcestershire border.

Her love of portraiture stems from a fascination with people. From a young age she drew people and even at the age of twelve had an ability to capture a likeness. It was this interest in people that led her into an initial career in Medicine and she worked as a GP until 2005.

It wasn’t until after the birth of her second child that her passion for drawing was rekindled and though having not drawn for nearly 10 years very quickly developed her skills as a portrait artist. Initially she concentrated on developing her drawing skills and was commissioned to do several pencil portraits. This she combined with a love of portrait photography – the two skills complimenting each other well.

She has only recently been painting in oil – her second ever oil painting being selected for the Holburne Portrait Prize exhibition and winning the people’s choice award.

“Now that I’m painting I’m happy – and while the paintbrush is in my hands I can’t understand why I could have ever considered another path. It is an all consuming passion from which I know I will never tire.”








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Diarmuid Kelley

February 6, 2013, 4:45 am
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Born in Stirling in 1972, Diarmuid Kelley grew up in the north of England. He studied Fine Art at Newcastle University, graduating in 1995. He was the youngest artist ever to win the prestigious Nat West Art Prize at the age of 23, in the same year, he graduated from Newcastle. He went on to study for a Masters degree at Chelsea College of Art and Design.

Kelley has a long association with Offer Waterman & Co, having had five solo-exhibitions at the gallery. His work has regularly featured in the BP Portrait Award held at the National Portrait Gallery, London, and he has recently participated in a number of other group exhibitions including The Figure, Browse & Darby, London, Hinterland, Thomas Williams, London and Illuminate, Jasmine Studios, Hammersmith, London.

Each year, Diarmuid undertakes a limited number of portrait commissions, often painted on location, which are produced in parallel to his studio work. In 2010 he was commissioned to paint Dame Anne Owers, Her Majesty's Chief Inspector of Prisons, This painting is now part of the National Portrait Gallery's permanent collection.


















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Jeong Seong Won - Jung Sungone - 정성원

February 6, 2013, 6:03 am
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1983    Born in  Republic of Korea
2008,   Yeungnam University  exhibition Best Film Award
2009,   Graduated Yeungnam University (Daegu), Faculty of Fine Arts BFA
2009    Daegu Art Square resident artist










awards
Yeungnam University (2008) Best Film 
Art Competition, creed Selection Award (2009, 2010)








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Bae Joon-Sung - Bae Joonsung

February 6, 2013, 7:13 am
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Lenticular and oil on canvas











Bae Joonsung(1967-)
1967Born in Kwangju
1990B.F.A. College of Fine Arts, Seoul National University, Seoul
2000M.F.A. Graduate School of Seoul National University, Seoul


AWARD
1995    Grand Prix, Chung Kyungja Art Culture Foundation, Korea
2000    Young artist Prix, Ministry of Culture and Tourism, Korea


1. A Strange Journey
I’m looking through an Alma Tadema art book and then looking for my camera. While I look for my camera, I attempt to recharge its battery; I’m about to recharge the battery, but instead I wipe the charger with a tissue; While I wipe the charger with a tissue, I answer the phone; While I answer the phone, I look at a tax invoice that was dropped next to the phone: While I look at the tax invoice, I think about the balance in my bank account; While I think about the balance, I rummage through drawers for my bankbook; While I rummage through the drawers; I rearrange some clothes I bought a while ago; While I rearrange the clothes, I sew on a button that has fallen off; While I sew on the button, I hurt my finger with the prick of a needle… Each day is a whirlwind of a strange journey.

2. Producer as Audience, Audience Producer
The relationship between objects under appraisal and the audience does not always depend on fixed principles or rules, nor is it continuous. On the contrary, in terms of the intensity of the feeling concerning the object, the more discontinuous and the more in violation of the visual rules heretofore the relationship is, the more intense and real the feeling gets. The audience does not become indignant or impatient at such irregular and inconsistent relationship with the objects. The feelings that depart from the audience’s past experiences rather transform the appreciation of the object onto another level, one of magnetic tension. Thus, in order to have such moments, the appreciator-audience tries to allow and seek for viewing time.

3. Mirror
I, for the first time, visited a theater on the outskirts of Seoul when I was a second or third grader of an elementary school. Reluctant to take my eyes off the huge and spectacular movie billboard painted by Mr. Jung, who has years of experience in such works, I thrust the ticket through a window and walk into the theater. Only then does the hush inside tell me that I’m fully qualified to be a part of the audience. I walk past a lady selling snacks and popcorn in the warmth of the movie house, open a padded door, and lift away a red and black curtain-and at last, I can experience the unique atmosphere of theaters. And without realizing it, I have a huge grin spread across my face like and idiot. In the darkness, I clumsily tiptoe to my seat, finding it at last. I can finally see and hear what’s happening on the screen. I can also see the sparkling eyes of the audience already filling up the theater. Before I know it, I’m engrossed in the moving images, all brilliant and dazzling, and I’m laughing and crying at the save time like a lunatic, holding my breath overwhelmed by the world of dreams spread before my eyes. All this lasts but for a moment, and I’m led away by my father, loath to leave behind the unfinished film, to another cinema. After a round of three of four theaters and unfinished films in my heart, my father goes off to work, and I trudge along back home. The films that played over and over again in my mind on the way back home transformed me into a loyal fighter, a solitary artist, a lonesome boxer, an arrogant genius, of a destitute poet. To be more exact, they didn’t transform me into such, but I, in truth, was full of loyalty, solitude, loneliness, arrogance, destitution, and ambition. In other words, for me, the films were like mirrors.

4. Honey and Tongue
In order to taste vagrant scenes with relish, the key, above all, lies in what kind of flavor the scenes are imbued with. So I coat the scenes with the finest honey I can find. When a right amount of honey has seeped into different parts of the scenes, the culinary delights are ready to savor. I set off on a journey of flavors, with my soft tongue in my watering mouth, all over the honey-coated scenes.

5. The Costume of Painter
Titles of my paintings always begin with the phrase. "The Costume of painter". The phrase refers to the costumes painted by the artist, and at the same time, signifies a certain layer derived through eyes of the artist. I have always believed that when an artist paints, with his or her eyes caressing over the model, the painting created through eyes of the artist brings birth to another model. However, the model painted or created, hovering somewhere around the artist's free will, demands in turn that the artist paint again. This demand springs from the physical and mental time of the artist's painting. In the end, the phrase,"the costume of painter", implies not the costume painted by artist, but what suddenly happens to the artist while painting the costume.

6. Moving Still Life
A painting is inanimate. It stands face to face with animate objects. The attraction of a still life lies not in its quiet, placid nature, but in the dynamic energy contained therein. A painter moves inanimate objects and in consequence, the painting once again becomes a still life.

7. Lenticular
When I was young, my plastic writing sheets meant a lot to me. As a class secretary all throughout the six years of elementary school, and as a kid whose forte was writing, the plastic sheets were something with an importance beyond what other kids could imagine. So I always had a few of them with me. Despite my competitive streak, I never even once took part in the plastic sheet breaking contest that was all the rage at the time; to that extent, I treasured and took pride in them. Of the precious sheets, the paramount was the so-called “transforming plastic sheet”- a yellow smiley face flaunting itself right in the center, now smiling, now crying. That was my first encounter with lenticular in my childhood.

Bae Joonsung

























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Heo YongSung - 허용성

February 6, 2013, 8:03 am
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Born 1982 - South Korea








"For you on embarking on 'aim-less trip' - Before the portrait of Heo Yong-sung ● Perhaps there were not many people who thought that the destiny of painting that has the term of crisis ordinarily used would make this recovery in such a short period of time. Although there is a strong showing of external factor in art market, this flow in art would not be such a lethargic condition that it leaves its own destiny onto a few flows as in the rumors of town. This is equally applicable for the Korean paintings that we have witnessed that there are growing number of artists who naturally accept the flow that has expanded into the painting territory rather than outcry of restoration of the genre. It is also rare now for naming for 'brother for brother and father for father' with tradition and identity of Korean painting as its foundation. Instead, the area is full of art works that naturally display the modernity of Korean painting with the private experience drawn in paper and ink on behalf of Korean painting and its route thereof, or the works beyond the insight of Korean painting in dense situation. There are group of artists who succeeded the tradition in contemporary means with the method to diversely display various colors of water ink, enjoy the smearing of dark ink without any change of light and shade or paying attention to the sensitive changes in between smearing and there are those who dreaming of another Korean paintings as attempted to place the objective distance with the technique and material that they borrow from different genre as maintaining for innate scenery. It would be a significant change considering that the Korean painting for its magnetism would present mutually different extreme points in whether it is 'Korean painting' or 'Oriental painting' to pull together or push one another. ● However, notwithstanding these diverse experiments and variations of such Korean painting, the views of upper generation in gazing into the 'new wave of Korean painting' are not that placid at all. It seemed to have the concrete shapes, but it would be dire frame that would fall easily with the wind from outside, and the attitude that seemed to neglect the generation of aesthetics in silence for blank space as for the implication of Korean painting would not be so readily acceptable. Indeed, it is a meaningful implication. However, it is true that this implication shows a sign of sarcasm as well. For those who have become 'professional' artist who consider opening of exhibition and naming of them here and there would not place any burden for them, the frantic effort of young artists would be reflected simply as an outcry. Of course, the time lapsed as they developed the Korean painting circle of today would be the crystal of aesthetic cause rare to keep with the precious value for our generation. Notwithstanding such fact, for me who live as a generation for them and young artist as a 'medium', and take the work as my engagement for 'business' I would feel certain level of fear for there is distance widening as day passes between the two. ● As we are recognized, most of young Korean paintings (or paintings) that came to us recently focus on visualizing the voidness and unfamiliarity that contemporary people feel. Void in relationship, recovery or relationship and works of young generation that would be consigned of the Korean painting circle in later days would be splitted into desiring for communication and consensus with others or turn away with respective intension. The fundamental phraseology of 'ink on Korean paper (coloring)' is still present, but specific part of human body is strongly condensed to express one's status with deviating from reality or contain minor experience and trivial event of ordinary event as the imaginative and symbolic elements of one's own would indicate that the breadth of frivolous of reality to look onto the appearance which is indicative for all that is not easy at all. It is the same in the works of Heo Yong-sung that the artist intends to pull in the foregoing two elements into his works. ● Heo Yong-sung who displays the exquisite brush touch bar more conspicuous than other artists originally contained the portraits of people with clear subject in President Obama and the like in sophisticated touches. Those descriptive drawings as if qualified to use the term of 'imagist' maintain the density of Korean painting while bring the flexibility unique in this young artist. However, it is also undeniable that there is something not very clear as the artist and onlookers could both sense. If it is first classified in vague and general terms, it would be the fact that the young artists 'just above' him as classified into the same generation already set their foot on the painting circle with similar works, and another point is the fact that the work volume to describe his own story to differentiated is insufficient yet. In spite of such fact, what we expected from the works of Heo Yong-sung is that he maintains the innate features of Korean painting while competent in expressing the portraits of our time as if we are in unfamiliar space. And now, we have the fortune to encounter with the fine drawing to function with different litmus to interpret the contemporary feature of the Korean painting in relatively short period of time. Our faith is valid and accurate. ● Drawings of Heo Yong-sung contain the portrait of younger days in its series type. The portraits in his drawing as they approach us in static yet powerful impact contain the instability and neglect that youth has to embrace on. Portrait of famous people would be enough to captivate the views of people at the first sight but I feel the change for the artist is very timely as well as refreshing. Even without borrowing the thought of Faucault, it would function as the issue of 'subject' to draw the painting, and it would seem to have the strong impression as if he declared to draw his own painting, not the painting for the purpose of painting through this exhibition. This is truly important aspect that we know too well that many painting works that are valued as 'fine work' in the market would be nothing more or nothing less than high level of brushing skills. It may be unexpected analogy, but it is interesting to contemplate what difference would there be for 'lining up' of good singers only by 'singing capability' and a few incidental elements from the entertainment survival program with the sweeping popularity and the practice that has been prevalent in the art market today. We need to look back that we may neglect the consistent 'position' of artist to view the world in the process of discussing 'good' art from certain days. ● On this point, the paintings of Heo Yong-sung may have less of sleekness compared from his previous works, but he has made meaningful progress in the point that the views of audience is gathered on the truth as the brush of the artist intended. In this exhibition, the artist seemed to make up his mind to represent the same generations with the splendid 21st century smart civilization coming as the darkness. By sensitively captivate various symptoms of the same generation that is fatigued from commercial experiment of existing generations from the end of darkness surrounding him, vagueness that could not distinguish front or back and marmotte of the lab and they are sublimed into work product through the experimental Korean painting style. As the artist confessed as ‘inserted', his drawings plainly drawn the defeatism flowing through the blood of him and his generation to live on. It is shown to accept the reality of present time in tied up for clever device in '880,000 won' for me to draw the painting, or you or all of us. However, it seemed like a mixture of certain type of rage and it is perhaps attributable to the fact that the artist sensed that the diverse entailment surrounding the identity of Korean painting or the tradition of learning that the high and noble academy tries hard to keep would not go beyond the arrogant reality. Perhaps so. The artist takes the origin of his works in the nostalgia on 'fantasy' taken its place beyond the dimensional reality to ties upon him. The 'portrait' in the drawing as if it floats around in white appearance takes a plane look of audiences with its image of 'no desire' as if the vitality of youth is curtailed. At a time to most actively jumped into the reality, he curtails his boundary as little as possible to have their look as if given up but it makes the onlookers that much inconvenient. ● That has to be the attribute. I could taste the quality of emotion in 'freedom' from the painting of artist no one has. As human lives on, it makes effort to fill up its own desire in anyway possible and it could feel the courage of young artist who attempts to undertake art with different point of view. The artist knows it. It seemed like he was patting on the back of his peers that we do not really need to change the world, and the world would run toward its end and we need to have more space to look around us and out surroundings by taking all easy. It may not be so easy. No one can hide away the instinct to tackle the world and self-ego while penetrating the time and space of youth. However, unlike the general youth of reality that artist Heo Yong-sung could not shake off the pressure of existence for which he has learned in preparing for this exhibition, he seemed to enlighten the fact that he is the artist who refines the life conditions of melancholiness and neglect in aesthetic language. Living truly in 'graceful' ways within the world full of dirt as all things are figured our as survival does not mean to fight against the world until the fuel in youth is exhausted or running at the top of the lungs in chase after the noble things, but to be the conclusion in horizontal view to the world through the 'portrait' of me and my surroundings. ● It sounds right. If discarded by reality, or floating around the aimless time and space, it does not mean that the trace of someone is lost its meaning. Rather than unyieldingly race toward a destination, aloofness to floating around somewhere without the immediate destination would have the day to call for the true art someday. Even for this moment, the artist and many other young artists are fully immersed into sharpening up their brushes. However, we will think slowly if my faith toward art is excessive and I am overly excited. We will take a look at my appearance as if it is too busy to set the finite plan where to go and what to bring on, and resulting it to have the appearance of 'tourist' that falls down from tiredness even before taking off. As it is assumed, the desperate love toward art and toward life could be gained when you are away from it. At such time, your own space can be occupied and has the reduced scenery of your own. I would boldly say as I am a part of established generation that the artist classified. Leave for aimless trip, go as far as you can, and we go together. ■ YunDonghee"
















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Han HuiGun - 한휘건

February 6, 2013, 9:59 am
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 Han HuiGun









BFA graduate of the 2010 Hannam University
Graduate School of Fine Arts






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Hi Kyung - 하이경

February 6, 2013, 10:34 am
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Choi HyunHee - 최현희

February 6, 2013, 1:52 pm
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Sookmyung Women's University, College of Fine Arts (BFA)








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Ku Myung Sun - 구명선

February 7, 2013, 2:40 am
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Education


2009
Korea National University of Arts  - School of Arts  - Fine Arts diploma graduation
2008
French Beaux-Arts in Dijon National Art School exchange student
2005
Korea National University of Arts School of Arts - graduation of Art and Design, and Art History















2009
한국예술종합학교 미술원 조형예술과 전문사 졸업
2008
프랑스 보자르디종 국립미술학교 교환학생
2005
한국예술종합학교 미술원 조형예술과 예술사 졸업



남북전쟁이 끝난 지 불과 60년 한국은 고도성장을 이루어 낸다. 경제성장과 함께 대부분의 한국가정이 그렇듯이 나의 부모님도 맞벌이를 하셨고, 형제가 없던 나는 대부분의 어린 시절을 혼자 보냈다. 혼자 지내는 시간동안 난 만화를 자주 보곤 했는데 만화의 이미지가 내게 미적으로 매력적이기도 했지만 무엇보다도 비워져있는 혼자만의 공간을 다른 이의 경험으로 채워주는 대리만족의 세상이기 때문이었다. 인터넷의 강국, 수많은 게임의 원산지, 모바일, IT의 발전국 등으로 설명되어지는 한국은 혼자되어지는 것에 준비되어진 새로운 이기들의 집합소이다. 개인적으로 변화하는 삶을 사는 것은 육체적으로 매우 편리하고 간편하다. 하지만 새로운 이기들에 몸이 적응하는 것처럼 우리의 감성까지 편리하게 만들어 줄지는 의문이다.근대적인 의미에서 소녀는 단순히 어린여자아이가 아닌 신선한 주체이다. 그들은 페미니스트들이 닦아놓은 안락한 현대문명에 소비적 주체로서 성장한 경제속의 우수한 고객이다. 그들은 다양한 상품의 소비와 아울러 영화나 드라마, 인터넷, 잡지 등에서 자신이 매력을 느끼는 캐릭터를 소비한다. 캐릭터들을 자신과 동일시하고 관계 짓는 그들의 삶은 항상 타인에게 노출되어있는 현대인들의 병리적인 삶을 잘 보여준다. 소녀들은 성장하고 있는 시기의 예민한 감성을 가진 주체로써 현대사회에 가장 처절하게 적응 하고 있는 인물이다.현대의 초상은 무엇인가? 나는 박물관의 램브란트의 자화상을 대했을 때 느꼈던 그의 진실성을 현대 캐릭터에서 느낄 수 없다. 특히 소녀들의 캐릭터는 미디어 속에 매우 키치적이고 섹슈얼하게 표현되고 있다. 인터뷰도 채팅으로 대신하는 지금 이 시점, 우리는 인터넷이라는 제2의 공간에 대해 그리고 그 안의 우리의 모습을 대신하여 살고 있는 캐릭터의 초상에 대해 생각해 보아야 할 것이다. 우리는 기존의 미술관에서 보던 초상화와 매우 다른 형식인 아바타의 모습으로 더욱더 많은 시간을 보내게 될 것이다. 그들이 우리의 삶의 한부분에서 게임으로, 교육으로, 친목상의 이유로 우리들을 대변하여 살고 있다면, 그리고 점점 그 영역이 확대되고 있다면 우리는 우리의 초상을 어떻게 보아야 하는가? 우리는 현재 램브란트의 얼굴도 아닌, 그렇다고 캐릭터의 얼굴도 아닌 얼굴로 전환의 시대를 살고 있는 지도 모른다.

낭만의 과거를 살았었던 우리는 보다 편리하지만 대체된 경험으로 가득한 미래로 가고 있다. 만남을 대신하는 채팅창, 여행을 하지 않고도 어디든 갈 수 있는 구글얼스까지 현대의 우리는 컴퓨터 앞에 앉아서 모든 것을 할 수 있다. 우리의 정신은 다른 범주 안에서 넓어지고 우리의 몸은 나태해 진다. 이것은 분명 몸과 정신이 다르게 운동하는 것이다. 몸의 움직임과 정신의 움직임이 분리되는 이 시점. 여행지에서 느끼는 바람의 향기와 대화를 할 때 미묘하게 느껴지는 상대방의 성품과 핸드폰이 가져다준 편리함속에 없어진 기다림의 낭만을 우리의 정신은 그리워하지 않을까? 변화하는 생활에서 우리의 정신은 예전과 같은 조건에서 반응하지 않는다.

잘 그려진 초상화속의 표정은 우주에서 보낸 신호 같은 미묘한 떨림을 표현해 낸다. 사람의 마음, 느낌, 생각은 얼굴로 표현되고, 그것은 주어진 상황, 만나는 사람, 등의 조건에 무수히도 다른 표정으로 변화한다. 그러한 얼굴이 점점 단순화 되는 현실과 단순화 돼져야 하는 조건을 바라보며 많은 질문을 갖게 된다. 현대미술보다 고전의 오일 페인팅에서 더 깊은 감동을 받는 나에게 그림은 아직도 소박한 작용, 화가가 만들어낸 에너지와 그것을 보는 관객과의 감동스런 교감이라고 생각한다. 나의 작업은 아카데믹한 소묘방식의 나이브한 방식이지만 결코 나이브하지 않는 현대의 초상에 대한 연구이다






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Lee JaeMin - 이재민

February 7, 2013, 3:19 am
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2002 Russian Repin National University
, Keimyung University, BFA 2005 Completed training









"자아를 비추는 에우로페의 초상
최종우(독립 큐레이터)
예술은 욕망의 표현이자 자신을 투영하는 거울이다. 머릿속 관념의 저편에서 솟아나는 아티스트의 욕망은 의식의 붓끝을 따라 자아의 이미지를 캔버스에 만들어 간다. 20세기 대표적인 정신분석학자 지그문트 프로이드 Sigmund Freud는 인간이 가지는 순수한 욕망을 '리비도 Libido'라고 이야기 한다. 리비도는 인간이 갈구하는 욕구를 채우기 위한 감정으로, 자신에게 부족한 무언가를 얻기 위한 순수한 동기이기도 하다. 그렇기에, 아티스트의 욕망은 예술을 창조하는 동기이자 새로운 대상이 되기도 한다."









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Susan Angharad Williams

February 7, 2013, 4:00 am
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"I paint primarily from life. The drawings are derived from many sources - life, photographs, video stills...

My work is intensely figurative. Natural pattern is set alongside patterns made by hand. Abandonment, rituals and bearing witness are recurring themes.

I want the intense stillness of the images and the relationship between the objects to project both harmony and tension. The further tension between three-dimensional space and the flat surface, between spatial forms and linear description is a constant exploration."


Susan Angharad Williams











"Susan Angharad Williams studied at the Royal College of Art under the tutelage of Sir Peter Blake and Donald Hamilton Fraser. During her time at the college she was awarded the ‘Drawing Prize’ and gained a distinction in her degree. She was also considered by tutors as ‘one of the two most outstanding artists of the last twenty years at the college, the other being Kitaj.’

However, Williams chose to step away from the art world and the public eye but never stopped drawing and painting. In 2007, she decided to restart her public art career and entered the ING Discerning Eye Exhibition, Mall Galleries. Williams was chosen from over two thousand artists to win the ING Purchase Prize. Selectors for the prize included Charles Saumarez Smith.

Williams depicts natural forms, including; flowers, seed pods, and skeletal forms, as well as cherished objects she has collected throughout her life. Her choice of subject matter and composition continue to evolve naturally as she focuses on the relationship and tension between objects and the geometry of composition. Williams also plays with the effects of patterning, juxtaposing those that clash or jar with one another to increase the tension of the painting.

Susan Angharad Williams (b. 1943, Glamorgan, South Wales) lives and works in Kent. Williams studied at the Bath Academy of Art, before undertaking her Fine Art Masters at the Royal College of Art in 1969 where she graduated with distinction. In 2007, she won the ING Purchase Prize in the Discerning Eye Exhibition, the Mall Galleries, London. This resulted in her solo show at the ING Bank Headquarters in 2008. Williams’ work is displayed in several public collections including; ING Art Collection, Royal College of Art and Carlisle Art Gallery, as well as several mixed exhibitions including; the Welsh Artist of the Year show, St David’s Hall, Cardiff 2006"


source





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James Lynch

February 7, 2013, 4:23 am
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James Lynch was born in 1956 and has been painting professionally for thirty years. From his first sell-out exhibition in the 1980’s he went on to win awards and prizes from the Royal Academy, the Elizabeth Greenshields Foundation and the Spectator. His patrons include the National Trust, the Folio Society and many eminent private collectors. He exhibits regularly with the Maas Gallery in London. 

He became known in the 1980’s and 90’s for his monumental animals set in visionary landscapes, but his recent work focusses on the Somerset and Dorset landscape and its different moods at times of day, seasonal light and dramatic weather. 

James paints using the ancient medium of egg tempera.

He mixes traditional gesso from raw ingredients and makes his paint according to Quattrocento recipes, using pure ground pigments, egg yolk and water. The paint is built up in thin layers and the surface hardens to one of the most durable and lightfast there is, with a sheen which gives a translucent glow to the colours.

 "One can hardly imagine a more laborious, slow-maturing process. It probably accounts for the extraordinary sense of balance Lynch achieves in his work as though he is placing us at the still centre of the moving world."
John Russell Taylor, The Times Art Critic

James is married to painter, Kate Lynch, and they live on a hill overlooking the Somerset Levels and Moors. Their daugher, Alice Mary Lynch is a designer and dollmaker.

James has a studio which commands breathtaking views over King’s Sedgemoor towards Glastonbury Tor. His interest in paragliding provides inspiration for his paintings.

He welcomes enquiries, commissions and studio visits.



























"Born in 1956, a few months before John Minton died, the painter James Lynch is too young to have been affected directly by the work of that English school of artists which included Minton, John Craxton, Michael Ayrton and Keith Vaughan and who were known collectively as the Neo-Romantics, however in many senses he seems to belong with them. Partly no doubt this is because of his eccentric artistic formation, away from the normal art school channels by which the prevailing fashions are by and large transmitted."

John Russell Taylor, The Times Art Critic


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Gary Stinton

February 7, 2013, 4:48 am
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The fluency with which Gary Stinton renders his powerful animal portraits is the result of a long journey of enquiry and creative experimentation. Producing bold and impressive portraits of big cats and hounds, Stinton seeks to portray their power, strength and formidable beauty.

Stinton works predominantly in pastel, a medium made of virtually pure pigment with a little gum tragacanth to bind them. Through his work, he has raised awareness about wildlife conservation by working alongside wildlife charities such as Elephant Family, the UK's leading conservation charity for the endangered Asian elephant.

Gary Stinton (b.1961, UK) lives and works in Herefordshire. He has been represented by Jonathan Cooper Park Walk Gallery for 15 years. His work is included in the permanent collection of the Museum of Hounds and Hunting, Virginia, USA.











GARY STINTON
Born in 1961, Herefordshire.  

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