¡°Seogak art goes beyond its boundary through installation and convergence¡±

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¡ã Seogak Artist Kim Yoo-jin aka Ilsan

Delivering unique style!
Seogak is an art genre that uses wood to carve letters and pictures. With its long history, many seogak artists have actively engaged in passing down its tradition and skills up today. Seogak is divided into traditional and modern, style-wise, with the latter having more freedom in terms of expressions and the use of various colors and brush works. What makes Kim unique among many seogak artists, however, is at his deliverance of a variety of shapes and colors as well as the use of objects found in our daily lives. Some say that he has gone beyond the boundary of the art whether this might sound approval or creative to you. 

From an art enthusiast to an artist!
Kim had a great talent in art since childhood but he had to face disapproval of his family. Not discouraged, however, he carried on his talent and passion in art time to time in his spare time or after his daily duty. It was when he was retired that he started to pour his full energy in the art like a newly budding leaf. In fact, he had rather engaged more in western painting but turned his eye to seogak on the occasion of meeting the seogak artist Jo Myeong-woong aka Sosuk. Alongside learning seogak techniques under the instruction of Jo, Kim also toured various exhibitions home and abroad in order to widen his eyes to discern good works including installations during which he built ideas for his own creative works with influence of the installation art. 

Shifting from static paintings to dynamism of seogak art!
Jo, who now has become Kim’s teacher and colleague seogak artist, says “The border between the genres is becoming meaningless nowadays. In other words, we are living in the age of no genre. For me, all plastic, visual and acoustic arts seem to be mixed nowadays and they travel towards a new form of converged or total art if you like to call it.” And Kim’s seogak art responses faithfully to this trend; Kim breaks the boundary of seogak to push forward the genre to a new level of creation through freedom of expressions and materials such as woods, stones, plastic containers and used-bicycles. These objects can be understood that they are the means of expressing Kim’s inner desire to move freely from a world to another world. He says “Installation art does not lie. I traveled junk shops, folk art shops or etc. you name it in order to draw a big picture of a work. Then I went through the process of destruction of the work to create a completely new work and this was the point where I found a great charm of the whole process of the art. Turning my major from western painting to seogak might have been greatly influenced by this very spirit of freedom.” The size-wise, most of Kim’s works are large and sometimes it takes 3 to 4 years to create single work from bringing up an idea to completion. 

Sweeping prizes!
Kim won the grand prize at the Hanyang Arts Festival with his work <Ilyeom Bultae> and the International Federation’s prize at the Korea Seogak Exhibition with the work <Kwansaeeumbosal: Avolokitesvara> in 2017. He also won an excellence prize at the World Environmental Art Exhibition with his work <Do>. On June 30, Kim was invited to the 1st Poonryu Viewing Stone National Forum held at Kensington Hotel in Yeouido, Seoul. Total of 23 artists including Jo, Lee Tae-young and Huh Ki-su (the president of the Hallryu Culture and Art Association) attended the forum on the day to give their insights. Jo gave a presentation under the tile ‘Convergence Technique of Stones and Subsidiary Materials’ and drew a great response. Lee then took the mike and said “There is a wave of change among the viewing stone circles in Korea like we are observing its movements as shown in Sunseok Exhibition, Museok 50 Years, Bulguksa Themed Exhibition and other collaborations. If the first generation viewing stone artists expanded in numbers, now is the time we started facilitating quality expansion. In other words, we should more actively engage and communicate with the viewers of our exhibitions.” Huh also said his opinions about artistic viewing stones “Viewing stones come from nature and they are in their original state. Origin art, in this respect, is our action to add identity and creativity to the original state of the stones and it can embrace painting, sculpture, seogak and plastic arts in broad terms to be called as installation or formative arts. Having waited his turn in patience, Kim took a part of the forum with presneting his works <The Moon of Seoul> and <Transition of Letters> which were highly praised by the attendees on the day. 

   
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Fostering talented young artists!
Kim has been emphasizing the importance of fostering talented young artists for many years. Kim says the earlier they start the better and it will be more effective if backed up by systematic education. He brought up a case “A group of Chinese students paid a visit to my solo exhibition held at Lamer this year. They threw many questions to my and took a lot of photos of my works. It made me feel good but at the same time aroused in my feeling the need of young students visiting galleries and museums in their early age is very important” says Kim in retrospect. His passion in fostering talented young artists will now take as important part as creating his own works. When asked about future plan, Kim said that he was planning to engage in more solo and group exhibitions home and abroad in order to share his works with more people.  


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