이상원
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Kim Young Hun
 p1922-Electronic Nostalgia112x112cm Oil on linen 2019 |  p1919-Electronic Nostalgia194x131cm Oil on linen 2019 |
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 p1926-Electronic Nostalgia112x112cm Oil on linen 2019 |  p1923-1Electronic Nostalgia97x130cm_ Oil on linen 2019 |
 p1786-Electronic Nostalgia73x60cm Oil on canvas 2017 |  p1764-Electronic Nostalgia131x97cm Oil on canvas 2017 |
 p1767-Electronic Nostalgia73x50cm Oil on canvas 2017 |  p1773-Electronic Nostalgia131x97cm Oil on canvas 2017 |
 p1925-Electronic Nostalgia184x184cm Oil on linen 2019 |
Education
2008 M.F.A, Chelsea college of Art and design, University of Arts London
2006 Gold Smiths college, University of London
1992 B.F.A College of Fine Art, Hong-Ik University, Seoul ,
Solo
2020 Diamond Mountain, Soluna Fineart, Hongkong
2019 Electronic Nostalgia, Galerie Richard, New York
2019 Electronic Nostalgia, Galerie Richard, Paris
2017 Virtual-Scape, Choi&Lager Gallery, Seoul, Korea
2016 Noise-Electronic Nostalgia, Gail Art Museum. Gapyung, Korea
2013 Cloud Map, Space K, Daegu, Korea
2012 Cloud Map, ZAHA Museum, Seoul, Korea
Etc.
Group
2020 An Ode to Life, Korean Cultural Center, Hong Kong
Visual Pleasures, Galerie Richard, New York
2019 Hyper Salon, U art space, Seoul
In Line, Made art space, New York
4482, gallery Selo Arts, Seoul
2018 Kim Young-Hun, Kim Jin, gallery Lee Bae, Busan
Color Matters, galerie Richard, New York
2017 Visualizing Today, Hongik Museum of Art, Seoul
Imperfect Consonance_YoungHun Kim & Robert Muntean, UNCgallery, Seoul
Etc.
Awards
2003 Höherweg 271, Dusseldorf, Germany
1996 Freeman fellowship, Vermont Studio Center, Johnson, Vermont, U.S
1995 Grand prize, Joongang Fine Art Prize
"Electric Nostalgia" by Kim Young Hun, dots and lines of various and colorful colors are filled inside the canvas. Through his work, he observes and reinterprets these changes while maintaining a critical distance from the artistic thinking dominated by new media and presents a "future North Talzier." This new digital image creates a fundamental rethink of the concept of art, and various images in the work break the boundaries between reality and reality, authenticity and imitation, technology and art, work and viewers.
Artist's Note
The contemporaries stand on a huge wave of digitalization triggered by small smart devices and computer systems on their hands. Many people accept virtual social networks and lifestyles that replace real human relationships, department store shopping, and playgrounds. However, people like me, born between the analog and digital generations, try to pay attention to something that has been erased between digital signals 0 and 1. It may be a mathematical infinity between two digital signals, or a continuous sound file recorded in the sound valley of an LP record.
I think.
Strains in cathode ray tubes, fine valleys on music records, colourful noises on satellite television, the sound of the wind, the waves on the calm lake, the tremors of the strings... It encounters the wavelength of gravity that has been transmitted from the eternal cosmic time and unpredictable distances.
I live in that wavelength.
I think my recent painting works lie in the cracks between the perception of the digital world and the analog world. Digital and analog elements coexist. To implement stripes that occupy a large area of painting, I enjoy using the technique of writing with my hands. So the oil paint on the surface of the canvas expresses fluid blend and spread. These stripes are usually produced in a single brush stroke, although they appear to be trimmed. This also means that a lot of my painting has only one layer. In this way, I complete the surface by utilizing delicate expression elements such as a shaking and movement of the brush rather than the smoothness that multiple depictions can bring.
I think that the repetitive striations in my paintings form an important characteristic of generating an electronic abstract language and are involved in touching or pushing out any delicate boundary of modern abstract painting.