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JI SEOK CHEOL

Present

Full Professor at the Hongik Graduate School of Art, Seoul

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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.)
 

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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 Posco Art Museum                                       ASEM Seoul 

The Museum of Modern Art, Wakayama, Japan

Introduction

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. 

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