| [GALLERIES] Gallery Doll
2023. 5. 25- 6. 11
RYU Jae Chun
Under the theme of , these works attempt to take a more diverse approach with the moon that has been continued. In the traditional context, the internalized moon shape meets the ink and colors and naturally moves between reality and unreality. As the mountains and the moon overlap, the color has become thicker, and the screen is full of light due to the combination of colorful primary colors and gradation of ink. The moon is located in the center, at the corner of space, or is likely to be caught, but it is also a symbol of desire. The moon tends to be abstracted from the artist’s words that the Korean sentiment, whose patience and perseverance to achieve finally pays off, is expressed as the moon.
In other words, the wish that everyone had wished for and kept once appeared metaphorically in the shape of the moon. The moon becomes dreamy when it meets valleys, trees, and mountains. The artist’s landscape, which is also a reflection of an individual’s life, gives meaning to each color in a space full of light.
Yellow, full of moonlight, symbolizes abundance, redness symbolizes the huge yet dynamic power of winter waiting for spring, green and blue symbolize the power of soft water that moves large stones, purple means dreamy dreams that can be achieved through the boundary between life and death, and pink, which has recently appeared, holds all energy and shines. At the same time, round purple, which is a blank space, is a moon of mind, which clearly shows a situation in which an ordinary landscape viewed by a person can become a work when it meets the inner side.
She carefully examines nature and creates her own paintings. , which has appeared after experiencing mountains for many years, is repeated like a part of the artist’s own life. The current series, filled with color and light, is beautiful with modern sensibility.
The artist defines her work as K- ink, connects tradition, and gives today’s value and meaning. On the premise of a bold and dynamic brush touch, she has been experimenting with an unrivaled experiment that is unconventional by taking advantage of its Korean aesthetic. For example, with a series of with purple abundance, more than 200 first Korean painting NFTs recently published by large companies leading the Korean Wave were sold out in 10 seconds. Behind the bold worldview that targets heavy ink and Korean paper, K-Painting, which meets new technologies such as media patents, meta-intelligence, and AI, is leading the transformation of Korean painting.
Ryu Jae-chun’s meta-space attempts a network of diffusion that crosses the boundaries of Korean painting by creating a multi-layered worldview beyond the existing method by making and imaging arithmetic objects a perspective concept. Attempts are currently underway to find a direction for Korean art today by studying the new from the old legacy. Scenery becomes abstract due to meeting the world, and surreal scenes created by adding thoughts and emotions over time are seriously and leisurely seeking answers. It’s creating a new idea for now.
87 Samcheongro, Jongrogu, Seoul, Korea
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