이상원
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JI SEOK CHEOL
 겨울, 아침, 흐림(Winter, Morning, Cloudy)2012, oil on canvas, 92.6x115cm |  부재(Nonexistence)2012, Oil on canvas, 62.5x78.7cm, |
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 시간, 기억 그리고 존재 (Time, Memory and Existence)2011, Oil on canvas, 120x54cm |  부재(Nonexistence)내용을 입력하세요. |
Present
Full Professor at the Hongik Graduate School of Art, Seoul
Education
1978 BFA Painting, College of Fine Arts, Hongik University, Seoul, Korea.
1982 MFA Painting, Hongik University, Seoul, Korea.
Solo
40 times (Seoul, Busan, Tokyo, Berlin, etc.)
Group
2015 Art Stage Singapore (Singapore)
2013 Houston Art Fair, (U.S.A)
2012 Korean Contemporary Art, (Kaohsiung Museum of Fine Art, Taiwan)
2011 The Opening Exhibition of Daegu Art Museum (Daegu)
2010 30th Anniversary of The young Korean artists (The National Museum of Contemporary Art, Gwacheon)
2009-2014 KIAF (COEX, Seoul)
2009 Past and present of Hyperrealislm (Seongnam Art Centre, Seongnam)
2008-2009 Art Karlsruhe (Germany)
2007 Istanbul Art Fair (Turkey)
2006 Illusion / Disillusion (Seoul Museum of Art, Seoul)
- The reality of painting and sculpture (Gyeongnam Art Museum, Changwon)
2005-2006 Sydney Art Fair (Hordern Pavilion, Australia)
Works In The Collection Of
British Museum,UK / National Contemporary Art Museum,Kwachon / Seoul Museum of Art / Sonje Museum of Contemporary Art, Gyeongju / The Sungkok Art Museum / Hoam Museum Samsung Foundation / The Museum of Modern Art, Wakayama, Japan / The Posco Art Museum / ASEM Seoul etc.
Artist’s Note
The proposition that chair and absence serve as metaphor for the existence of human beings, and the paradoxical notion of existence, the memories and importance, meeting and separation, the overwhelming solitude arising from existence, the dream of hopeful messages, and the compassion for the traces of the past years… As such, my chair wished to be taken as representation of an existence “that could possibly be anything else.” This is not irrespective of my creative impulse to share my emotional sensibility.
Arthur C. Danto asserted that “Meaning must be physically implemented in an artwork and it is through interpretation that objects change into artworks.” With respect to the reproduction of paintings, it was my belief that the delicate and meticulous depiction, using one’s eyes and hand, was merely the beginning, and the significance of the ‘reproduction’ depended on how the work was adapted and produced based on the personal perspective of the target work and image. The stories relating to objects and images are presented concisely through the power of subtle monotone, while the strange combinations lead to the discovery of value in existence. This is the revelation of a significant moment, which stops us amid the wheel of life and represents my heartfelt and desperate gesture.