LINES IN MOTION
'Lines in Motion’ is an exhibition that explores the sheer power of lines, woven into compelling stories of movement, power and transformation by six artists from Japan and South Korea: A-taro Matsuo, Kan-Zan-Loc, Bae Sangsun, Lee Youngha, Park Hyojeong, and Yoon Dujin. This presentation is part of the Asia Sector Booth A19 at Art Fair Asia Fukuoka 2023 and is co-presented by Khalifa Gallery in Seoul and A3 Gallery in Kyoto.
Lines - uncomplicated strokes on a canvas or sculpted forms - harbour an incredible aptitude to communicate movement and vitality. They have the remarkable skill to take us past the fixed boundaries of two-dimensional space and into the domain of dynamic artistry. At the Asia sector of the fair, the six artists will showcase their distinctive art practices and styles. Through their works, they establish a profound connection with the viewer, a link that invites them to explore the methods and materials they use to express themselves.
Hazama - Across Triangles
Collage of Burned Paper & Dictionary
and Pigment on Panel, 2014, 73 x 60 x 3.5 cm
"Hazama - Triangle S"
Collage of Burned Paper & Dictionary and Pigment on Panel
2015, 74.5 x 74.5 cm
"Orizuru #0000"
Mixed Media, Thousand Paper Cranes, Pottery Clay and Lacquer on Panel, 2019, 140 x 140 cm
HAZAMA by A-taro Matsuo
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In the context of A-taro Matsuo’s (b.1977) HAZAMA series, the artist predominantly employs Japanese washi paper, occasionally integrating "gassen-shi" paper. While paper quality does hold significance, the pivotal aspect of his artworks rests in the paper's inherent transparency. This essentially revolves around the utilization of delicately thin paper.
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The historical lineage of paper, originating in China and evolving into Japanese washi paper, which subsequently diffused into European and American contexts, encapsulates a transformative symbol, emblematic of Asia's cultural and industrial representation – an entity that played a pivotal role in reshaping the global landscape.
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The artist's attention converged on both the material essence of paper and the currents of cultural evolution. The inception of using burnt paper's scorch marks as a creative element stemmed from his aspiration to produce original monotype works, steering away from standardized print reproduction. A pivotal juncture arose when, in light of impending marriage, he decided to incinerate his cherished collection of adult magazines from his youth. Remarkably, some pages escaped the blaze. Upon close examination of these remnants, a fascinating phenomenon unfolded – pages bearing identical burnt patterns, which, when juxtaposed, unveiled disparate nude photographic images. This intersection marked the link where this phenomenon intertwined with his conception of printmaking as integral to his artistic narrative.
"Within the realm of solitude in KanZan's creative process,
lines are created through a meditative experience of 'Kuu', which refers to emptiness or nothingness in Zen Buddhism."
Lines and Kan-Zan-Loc’s Blue
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Lines and the color blue have always been an integral part of Kan-Zan-Loc’s (b.1964) artistic practice, one that not only plays homage to but is dedicated to the continuation of the Asian aesthetics. From incorporating centuries-old Ganryo with indigo blue, Kan-Zan-Loc attempted a significant change by introducing natural gemstones in his recent line art. These include lapis lazuli, azurite, and malachite with gold and silver which are used in Asian art form the basis of Kan-Zan-Loc’s painting practice. An homage and respect to his heritage. His goal is to make traditional materials relevant in the narrative of contemporary East Asian art.
Within the realm of solitude in KanZan's creative process, lines are created through a meditative experience of Kuu, which refers to emptiness or nothingness in Zen Buddhism. Art becomes a revelation, almost a prayer. These lines symbolize harmony with a tranquil and clear state of mind. Infused with the Zen definition of beauty, embracing both change and imperfections, his lines are released from the stiff confines of space as if dancing in the flow state.
"Flowers Smile and Birds Sing"
Ganryo, Indigo-blue, Shellfish Powder, Mineral Mica on Neutral Paper, 2017, 55 x 40 cm
Chandelier by Bae Sangsun
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Sangsun Bae (b.1971) is an artist who has been working in various media such as photography, installation, and ceramics as well as painting. While living in Japan for a long period of time, she creates works that deals with the problem of ‘relationship’ between Korea and Japan entangled in the modern history. The artist regards her works as a stain that is created by the overlap and accumulation of performance processes that may seem difficult, repetitive, and meaningless. Especially, the entanglement and intersection of the thin lines and the lump of light and darkness forms by it, demonstrates the artist’s gaze on times and history and the meaning of the relationship implied in her works. In the photography series Chandelier, countless and colorful thin threads that are intertwined emerge from darkness. Korean and Japanese silk threads are so tightly tangled that they can’t be unravelled easily.
Chandelier series shines dim light on the memories of colonial rule that have been suppressed and buried in the history of the country. Stories of individuals that survived the maelstrom of history reflect the fierce process of life where people form and build relationships. “I believe that my perspective of seeing relationships or life that transformed as I acquired strong and vivid memories and experiences from research projects based on objects such as abstract and literary knots, threads, and porcelain greatly influenced my work.”
"Chandelier 1 and 2"
Archival Pigment Print, Edition 2 of 9
2022, 90 x 111 cm
Lee Youngha (b.1968) is a visual artist who produces artworks using the lenticular effect to create the impression of depth and motion. He achieves this by painting two distinct images on top of each other, using either oil or acrylic on canvas. This dual structure expands the flat plane of the canvas and introduces a new dimension to the image. This approach, prevalent during the 1950s and 1960s through lenticular postcards and toys, permits the picture to transform and adjust as the viewer moves, imparting it with a lively and continuously evolving attribute. The invisible boundaries [line] created a dual atmosphere, encouraging contemplation of both time and space.
In his work, Lee frequently combines images that stimulate thought and discussion, such as Barack Obama and Martin Luther King, Mao Zedong and Benjamin Franklin, John F. Kennedy and Marilyn Monroe, Andy Warhol and Jean Michel Basquiat II, and Rodin's "The Thinker" and a seated Bodhisattva. These pairings encourage the audience to examine the connections between the images and contemplate their significance, resulting in Lee's work being both visually impressive and intellectually stimulating.
"The invisible boundaries [line] created a dual atmosphere, encouraging contemplation of both time and space."
"Eternal Idol - Che Gueverra"
Oil on Canvas, 2023, 45.5 x 37.9 cm
"A Touch of Abundance"
Bronze and Wood, 2023, 24 x 20 x 60 cm
Park Hyojeong’s Still Paradise
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Park Hyo-Jeong's (b.1958) art draws inspiration from nature, likening her sculptures to the organic forms found in gardens. Employing minimal and geometric forms, she masterfully integrates elements of nature into her creations through rounded edges and irregular lines, mimicking the organic shapes of trees. Using materials like wood, iron, and clay, she crafts abstract yet harmonious pieces. Her sculptures often resemble the Korean traditional harp, "Keomunko," with bronze accents. Her work combines water and wood elements, evoking imagery of ripples on calm water or the play of ducks on a pond. Through her works, she reflects on the interconnectedness of these elements in the natural world, where a tree gives rise to fire, fire transforms into earth, earth nurtures metal, metal guides water, and water sustains the tree. This cycle of harmony and balance permeates her creations, whether in the abstract interplay of wood and bronze or the rounded volumes of her ceramics. Her art explores the interplay of five elements - wood, fire, earth, metal, and water - creating a harmonious balance that mirrors nature's cycles and harmony.​
Guardian angel of Yoon Dujin
Yoon Dujin's (b.1968) work has evolved from being centered around myth to encompassing a wide range of narratives from the world around us. His sculptures frequently showcase soft yet striking lines that accentuate the figures, with achromatic colours integrated into cement structures, depicting human bodies in a utilitarian yet otherworldly manner. These sculptures convey a sense of purity, sublimity, and honesty, while also evoking a feeling of solitude and emptiness. He incorporates various elements like three-dimensional wings, helmet-shaped tubes, and shields into his sculptures, enhancing the multidimensionality of the artwork. This incorporation goes beyond the conventional relief format, drawing attention to and magnifying the sculpture's three-dimensional qualities.
Yoon unveils a realm of immaculate sculptures, an ethereal manifestation eluding the grasp of reality. Within the confines of his creations, we are transported to a realm reminiscent of bygone castles and venerable art galleries adorned with classical statuary. Simultaneously, his visionary craftsmanship conjures a notion of futuristic factories birthing spectacles yet to be witnessed.
"Guardian Angel"
FRP, Onyx Powder, Variable sizes
The lines, each carefully crafted by these six artists, function as a crucial connecting thread that aids in our comprehension of the past, our adjustment to the present, and our shaping of the future.
Works of art are available for sale and the exhibition catalogue is available upon request.
