I have been interpreting Korean Modernism within the Western cultural context, and vice-versa—Western Modernism within the Far Eastern cultural context.
I incorporate traditional values and methodologies, such as 'perspective' and 'chiaroscuro' of the West, and 'chun'( 峻,埈, passage and grid) from the East.
I blend Eastern isometric perspective with traditional Western linear perspective painting
to create a fusion of both depth and flatness,
apply calligraphic principles to recreate new pictorial images.
in comparison to the classic subjects; the Dot, its Illusion and its Configurations.
I think it's time for me to explore the new paths of the paintings, of the formal methodologies and criterion, and the new issues of visual languages on the new subjects.:Within these context I would like to explore the metaphors of the ironies and contradictions existing in words and forms;
The Six Cannons in far Eastern Asian tradition;
1. During China's Southern Chi Period(479-501 A.D) Hsieh Ho wrote six cannons for the Artist.
Briefly, they are (1) that the painters vital brush movement should convey the spiritual element of the matter being observed.
We can see Western counterparts in the work of Kandinsky, Gorky, Tobey, and Pollock, among others.
(2) The brush-stroke technique should have bone structure with 'passages'.
This method is similar to the Cubist, Constructivist, and Abstract Expressionist movement in the west,
and to the work of Braque, Mondrian, Malevich, and Pollock in Particular.
(3) Execution of the subject matter should be performed abstractly, but only after adhering to the first and second canons
(4) There should be a definite color dynamic.
(5) The distribution should be based on logical principles;and
(6) The artist must always respect tradition while at the same seeking innovation through his own original style.
These Six Cannons are the basis of all Eastern art.
In the West, beginning with the Post-Impressionists in Paris, the Expressionists in Munich anf the Abstract Expressionists in America,
painters began to move away from objective representational illusionism and towards a new subjective reality
by introducing the importance of the brush-stroke itself as the subject matter of their work.
With this signicant transition the hard line separating Eastern and Western art(and culture)began to disappear.
Kyu nam Han talks on his paintings; at Saddle River,
Kyu nam Han,'Dynasty'(1984), oil on canvas ,72 inch x 56 inch
"4계 II (四季,Four Seasons)",(1984) oil on canvas,549cm x 122cm