이상원

  "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.

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​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.

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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.

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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.

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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.