Nano, Real, Astro in between the worlds: Blue Hill Art and Cultural Center Works
For the presentation of the Blue Hill Art and Cultural Center Exhibition ;
An exhibition of " Change & Transformation",
Thurs. December 5, 2013, 5:30-8:00 PM, Viewing hours until May 31, 2014
Reviewing the old studio photos, I recognize that I was undertaking the very same issues and problems that I am presently engaging in my painting;the real world to Nano(Quantum) and Macro (Astro) world: which I was not paying that much attention at all, of the hidden structures, and neither such the phenomenology or its languages and forms ; as Nano, Astro world, which aesthetic substances are in fact as much as exciting as the real world.
Kyu Nam Han(2013),'Secret Garden'.Korean Rag Paper, ac & oil,60" x288";Mounted on Canvas, New Rochelle, New York.
The Dot and its Configuration and Illusion; A Symmetry world in the Multiple Parallel space.
Kyunam Han(1984), 'Dynasty', Oil on Canvas 6 x 8 Ft
I should have put the title of above painting as ' the Multiple Universe or Gallaxy'
It is interesting to see the origin of the word from Wikipedia, the free encyclopedia
Jumping into : navigation, searching
..."The multiverse (or meta-universe) is the hypothetical set of infinite or finite possible universes (including the historical universe we consistently experience) that together comprise everything that exists and can exist: the entirety of space, time, matter, and energy as well as the physical laws and constants that describe them. The term was coined in 1895 by the American philosopher and psychologist William James. The various universes within the multiverse are sometimes called parallel universes.
The structure of the multiverse, the nature of each universe within it and the relationship between the various constituent universes, depend on the specific multiverse hypothesis considered. Multiple universes have been hypothesized in cosmology, physics, astronomy, religion, philosophy, transpersonal psychology and fiction, particularly in science fiction and fantasy. In these contexts, parallel universes are also called "alternative universes", "quantum universes", "interpenetrating dimensions", "parallel dimensions", "parallel worlds", "alternative realities", "alternative timelines", and "dimensional planes," among others."
Kyu nam han (1984), "Dynasty". 72 inch X 96inch, Oil on Canvas, Tenafly, New Jersey.
Kyu Nam Han (1986-1988)'Four Seasons', oil on canvas. Tenafly Studio
The followings are the writings of Eleanor Heartney
The Work of Kyu Nam Han
"The disparity between classic Asian and Western modes of representation is more than a disparity between different optical experiences. It also reflects different ways of thinking about reality and different ways of expressing the relationship between mind and body, nature and human life, the interior and exterior world. For one reared in Western culture, it seems natural to regard each partner in these pairings as distinct and often irreconcilable entities. The mechanistic view of the universe articulated so forcefully by Descartes and Newton underlies our notion of science and demands such separations. In keeping with this world view, Western art from the Renaissance to the end of the last century also embodied a longing for hard facts and objective knowledge, keeping spirit and matter at a distance as it searched for ever more accurate methods for the transcription of visual experience."
But in the 20th century, a new physics and a new art began to suggest something quite different. Einstein's theory of relativity blurred long established distinctions between space and time, while Quantum Mechanics suggested that under certain conditions it is impossible to distinguish between waves and particles. Such conceptions seem to approach a more Asian view about the blending of opposites. Similarly, Western art, moving through Impressionism and Cubism to Surrealism and Abstract Expressionism, has also repudiated the strict division between subject and object which was the basis of Renaissance illusionism. In the process Western Modernism has opened the way for new ways of thinking about visual reality.
Developments like these suggest that the moment is ripe for a rapprochement between Eastern and Western art. Such a reconciliation of opposites has been the life long mission of Korean artist Kyu Nam Han."
30 years ago I made the following paintings,those series of
'Four Seasons' and 'Dynasty' along with a theme of 'time and space',
when I was in the hospitals around with a big bang in my heart in 1986.
In fact I have gotten these cool and heavy thematic materials from the time OSU period in Columbus Ohio, and kept experimentation
for the better understandings
from the time of the Princeton Joe Brown Studio period up
along with these contradictory subjects When my heart was experiencing another attact; There were nothing but the 'Caos, uncertainty, and absurdity'
of 'Being and Time' as
the scientists views around me on these matter was an exit of the chaotic matters; the calamity lyrics.
Frank Wilczek, author of The Lightness of Being and Nobel laureate once said
'To find it properly and to measure it right'.. we have to deconstruct and break it .
The problem is how do we get it? Isn't this the similar cases as mine
when the issue of 'Being and Times' becomes the real subject.
Is this a duck or a rabbit? What makes it difference in between?
Kyu Nam Han, (1984), 'Four Seasons',oil on canvas, Tenafly Studio. 72" x 240", 4 pannels,
By Eleanor Heartney
"Any westerner who has traveled in Asia and been privileged to encounter the mountains through veils of fog will immediately be struck by the sense that nature is imitating art.
Forms dissolve into the mist and bits of black branches break like quick strokes of black ink through the haze.
At such moments, one is struck by the fact traditional Asian landscape painting is in its own way as true to visual experience
as the far more labored modes of Western one point perspective, chiaroscuro and "scientific" clarity.
All of which goes to demonstrate that seeing is as much a matter of the mind as the eye".
[.......Even though different cultures are sometimes contradictory and incompatible, the more this is true, the more I find myself challenged to discover the common ground between the two, and the specific points in which the two extremes meet and become indistinguishable from each other. I think that this middle ground is ultimately the space in which two cultures that are seemingly at odds can come together peacefully, face to face, and there see reflections of themselves in the other, thereby mollifying conflicts that had arisen and had been solidified and amplified as a result of perceived, irreconcilable differences....]
The following statements need to be reexamined.:
'I have several fundamental principles in the way of demonstrating Perspective on my painting:
(1) The Western linear perspective that Renaissance artists developed;
(2)Eastern isometric perspective method that Hindu-Buddhist artists developed; and
(3)Chiriascuro— the Gradation techniques of the Far Eastern Folk and
(4) The Western Modern, abstract painters way of handlings of space
(5) Caligraphic principles.
KyuNam HAN (1982),Trenton, Fort Lee, Tenafly, Brushwork on Paper.Mounted on canvas, 4 Pannels.
Eleanor Heartney writes;
"In Han's hands, the mark remains full of essential meaning. It suggests form, but does not separate form from its antithesis. As a result, Han's paintings of New York City have a mysteriously dematerialized quality.
One views scenes of city streets or towering skylines as if through a heavy mist in which buildings, cars and streets are just suggested by masses of shadow and light.
With these works he has, in effect, taken the principles of Asian landscape painting and imported them into the most western of subject matters."
"Han recalls a day in his school career which marked a turning point in his thinking.
Frustrated with his art work and his progress as a student,
he took his brushes and cut them up,
intending to discard them forever.
Instead he found himself experimenting with the denuded brushes.
This lead him to a new approach which focused on the application of abbreviated marks rather than expressionist brush strokes.
In the years since, Han has continued to pursue a variety of unconventional approaches to painting.
His ongoing aim is to bring together the supposedly antithetical histories of western and asian art.
In the process he reveals the varieties of pictorial space which painting is capable of creating.
Han's early explorations with structure took a variety of forms.
He broke color down into small geometric forms - circles, squares, triangles, hexagons and the like.
Sometimes he filled circles with dots, leading to vivid compositions which seemed almost to vibrate across the canvas.
Some of these paintings were completely abstract.
They were built up of small geometric elements which shimmered from a distance like mosaics.
Neither flat or conventionally illusionistic, they suggested a strangely pulsating space which was simultaneously eastern and western."
Pen Name of Mrs. Ford, Metropolitan Museum
Whenever one encounters the intensely crafted works of the Korean artist KyuNam Han, there is immediate engagement.
It may be only passing curiosity at the discovery of a monochrome panorama on a folding screen at the left of the plaza entrance to #2 Blue Hill Plaza.
Or, when entering at the lower level arrested by series of smaller more colorful canvases, drawn in by tactile surfaces in harmonious colors that present exotic scenes as well as more familiar sights of metropolitan area skylines. Less casual visitors will note that these sumptuous surfaces comprise the current exhibition of the Blue Hill Culture Center's ongoing program focused on works by contemporary artists and venture a closer look.
Those fortunate spirits will be drawn into myriad delights.
In the large folding screen, Old Palace, the eye wanders among hills and dales of a timeless landscape. Though exotic at first it is filled with charming vignettes depicting activities that elicit memories of country walks, hikes in the mountains, or childhood perceptions of the sights and sounds of nature those who recognize the refined traditions of East Asian landscape painting might marvel at the expert handling of brush and ink that draws the eye on a journey from a riverside village at right to the imposing walls that enclose a palace and its surrounding city. Beyond this city, a vast space extends across the sea toward an unseen horizon. Elaborate halls and dwellings seem to reach toward the heavens, as though vying for the light of an eternal sun or (and?) moon.
Its phrases resonate Neo-Confucian notions of man's place in nature and the experience of the artist as expressed by one of east Asia's most revered heroes Su Shih(1037-1101). [...]
꾌쁎랍�o Movement taken to its ultimate becomes tranquility
�o랍��� Quiet turns to activity,
�o쁎뤞꾌 Ultimate [Action of the void in betweens] creates movement.
寧꾌寧�o Action creates stillness.
빳젒샘몽 this is the root of all things
For KyuNam Han who adroitly adopts the style of the Northern Song literati in his brushwork, Old Palace is a highly personal statement. Its motifs and calligraphic brushwork represent an intense encounter with tradition. painted in 1979 when the path that led from his youth and early training seemed unclear, Old Palace recalls his early life in Inchon, the small town of his birth west of Seoul, and his later move with his family to the capital. <......>
Familiarly known by his pen name, Dongpo Su was a scholar official during the late Northern Sung period. acclaimed for his accomplishments as poet, painter and calligrapher. He served the court in tumultuous times, and experienced both honor and disgrace, high office and exile. His wisdom and integrity in public life, his equanimity in good fortune as well as bad, combined with his artistic cultivation have made him a prime exemplar of Confucian virtue and scholarly attainment as well as a model of Buddhist detachment. His prose writing and poetry have served as classic models for hundreds of generations.
Old Palace recalls his early life in Inchon, the small town of his birth west of Seoul, and his later move with his family to the capital.
There he later studied Painting at Seoul National University. At that time in the mid-sixties, the traditional art curriculum instituted at the end of the Korean Civil War had been supplanted along with its professors. A new generation of teachers and students was grappling with unfamiliar concepts and techniques of Western painting from that of Renaissance masters through the Impressionists to the efforts of contemporary artists then pursuing the limits of abstract expressionism. Han, traditional in upbringing, searching by temperament, and aspiring to classic artistry completed his training in 1967.
It was only when he moved on to Ohio State University for further study, that his desire to delve the Asian tradition emerged. Old Palace shows prodigious mastery of traditional brush and ink and marks the culmination of his studio work and a theory of art worked out in his master's thesis. This study deals with nature of the dot and the line, brushwork and composition as fundamental to painting. (...)
Kyu Nam Han(2013),'Secret Garden'.Korean Rag Paper, ac & oil,60" x288";Mounted on Canvas, New Rochelle, New York. presented to Blue Hill Art Cultural Center Exhibition, 2013, 12-05, Pearl River. New York
Kyu Nam Han(2013),'Secret Garden'.Korean Rag Paper, ac & oil,60" x288";Mounted on Canvas, New Rochelle, New York. (....)
Traces of the artist's hand, these elements inform his work in its various aspects and innovations. Though his paintings can be lush in color, exuberant in their kinetic execution, sensuous in effect or lofty in their abstraction, they are all composed according to basic components of line and brushstroke and adapt the aesthetics of traditional calligraphy in new modes.
Han's most recent works focus largely on images of New York City. With these works, he returns to his early calligraphic training, and focuses on the quality of line.
However, Han's renewed interest in calligraphy has now been inflected by his long study of western art and western representation. He notes that there is a basic difference between the use of line in eastern and western painting.
In the former a linear mark is a thing in itself, used to express the essence of the objects and scenes which it represents. By contrast, in classic western illusionism, the line is principally an instrument of delineation, which forms outlines and divides an object from the space which surrounds it.
He uses this as a template to compose works of various sizes on canvas and, less frequently, on silk or paper.
Lines are applied with a brush or incised through the pigments in a manner
akin to the inlaid decoration of
the fabled celedons of the ancient Korean kingdom of Koryo(918-1392).
In subsequent stages, the surface might be built up
in thickly applied pigments,
mottled with shadow and light,
smoothed or glazed,
gouged with a brush to redefine the image in intaglio.
or smoothed to a flat surface of color through which the underlying pattern can be recovered by tracing through it.
Each work begins with a particular combination of essential motifs.
Palace or village rooftops, trees and streams along a mountain path,
near and distant surfaces of earth and sea.
All reduced to a composition of individually drawn lines and brushstrokes.
Whether the expression in intimate and individual or grand in scale,
these works are rooted in the nature imagery of classic Chinese poetry.
They revealed the interdependent harmony of elemental forces
that is expounded in Daoist classics,
profound and simple words of the Heart Sutra.
These all proclaim the unity of opposites,
the identical nature of substance and void,
and the underlying oneness of nature and human life.
Han developed as an artist in a foreign land where he came to recognize his native roots.
Now at mid-life, with the tools of both Asian and European technique in hand,
he strives to break through barriers of culture and artistic technique,
to capture the meaning of human experience
and to realize the potential of his art.
October 29, 2013
The Reviews of Blue Hill ; New York Times
Reviewing the old photos of the Hong Chon studio(GangWon Province 2008) I realize that I have been dealing with the same painterly problems; which is in fact the very issues of the 'Synthesis of Opposites; Deconstruction and Reconstruction': ' Dot, its Configuration and its Illusion'. (1977). MFA Thesis, The Ohio State University.