Kim Hodeuk (학고재 金浩得 Born 1950), who energetically leaves traces of ink stick on blank white space, graduated from Seoul National University and Graduate School majoring in painting. Kim has been continuing to seek towards the darkness and the depth of the ink for a long time at his studio where inks are spattered and stained, spending his lifetime together with the material. The hieroglyphic ‘muk (墨)’ consists of ‘black (黑)’ and ‘soil (土)’; the artist has been recording his life in discovering the cosmos, life, cheerfulness and vividness from the ashes remained after burning.
Kim Hodeuk has created numerous series of works where he dashes off with one stroke of a brush without any hesitation. This expressive performance of traditional material which deviated from standardized frame of Eastern painting is artist’s own unique formative language in seeking of the essence, creating his own means of communication regardless of the material. Whether crumpling a piece of paper to be used as a stamp or wetting Korean hanji paper into the ink, Kim Hodeuk freely creates brushes’ shapes, clearly showing his ‘ink play.’ Also, he does not limit himself to use only traditional Korean papers such as gengji or hanji but uses rough cotton cloth and canvas fabric, producing various ways for the ink to permeate. The artist crosses back and forth the boundaries between Eastern and Western painting and opens up a new horizon. The changes in the lighting and shading of the ink created by the power of the brushstroke permeate into the background with each stroke clotting in different ways at the same time, intensifying the cosmos created by the ink and the brush. In his earlier works, Kim depicted traditional landscape paintings depicting waterfalls, valleys, rocks, and flowing water; now, he offers abstract and metaphysical imagery by dotting points and drawing lines. Also, he continues to make installation works as well, revealing the material’s pure quality through various performance experiments.
Kim Hodeuk resolves strokes of traditional ink painting by drastic forms taking nature as a motif to explore the ‘life’ itself and attempts to form energy with ink’s lighting and shading. His works are part of National Museum of Modern and Contemporary Art, Ho-Am Art Museum, Seoul Museum of Art, Ilmin Museum of Art, POSCO Art Museum, Daejeon Museum of Art, and Daegu Art Museum.
In order to escape the physical nature of the "ink", he even carried out the "ink" experiment with the concept of the device, refining the purity of space and time in the "ink" color, and established the sound of the "ink" Ink and ink two special "ink" genre, in the contemporary Korean ink no one can hold a candle back. Works more widely by the Korea National Museum of Modern Art, the Samsung Art Museum, Daegu City Museum of Art and POSCO, OCI Museum and other institutions collection. "Ink industry" creation transformation point, one is the body can hear the voice of the feelings of the expression of the "sound and ink industry" and the image of the plane painting modeling in time and space to move the dynamic performance of the "ink industry." Both ink painting, but also ink device, absolutely worth the breath to be!
The Pinnacle of Ultimate Freedom Attained Through Constant Self-denial Kim’s work is expanding in scope in pursuit of further expressive methodologies. Waterfall paintings by Kim Ho-deuk place on display a state of being “on the point of landing a blow with one’s fist under the rib of great foolishness” (Linji Lu). This is a state through which a ground can reveal a figure, as in the figure-ground relationships of Gestalt psychology, or in the tactics of “looking one way and rowing another” (Tongdian). Thus, to borrow Kim’s own words, it is the state of landing a punch under the rib of great foolishness “all of sudden,” or without warning. According to him, Kim Ho-deuk was once nearly drinking himself to death. Anyone who has fallen into a state of deep alcoholic ecstasy knows the feeling. There, no sense of specific time and space exists; here is there and there is here; yesterday resembles today and today resembles tomorrow. Upon obtaining such freedom from obstacles, a state is achieved through which one is drawn to nothing and does not discriminate between anything. That is why Kim’s statement, that he has become fond of the word “now,” carries such conviction. To quote from the Linji Lu again, this state is one of reaching a spiritual realm where “there is neither Buddha nor the law in or out of the mundane world.” Kim’s paintings aim for such a realm. It is an entirely separate world, both methodologically and qualitatively, from that of minimal painting in the West, which has encountered a blank canvas after passing through a process of dialectical abstraction of images.
https://hisour.com/artist/ho-deuk-kim/
没有评论:
发表评论