I was educated in two different places, Seoul and Braunschweig. My work thus shows approaches to interacting with these environments in terms of form and content. I represented my expectations and anxiety to a new place with the theme of ‘water’ during my study in Germany. But, after coming back to Seoul, changes in life in Seoul and leaving a place to other place made me pose new questions concerning my work. I am now developing a very personal, abstract language as a process of experimenting with these questions. Observing not only the surrounding natural environments but also reality through the media, I seek a conflation of my experience and memory with them. After memorizing or saving photographic images I took myself or images I extracted from the media or SNS, I have worked on decontextualizing and abstracting them on horizontal layers. Nature is visible for me as a wide spectrum of colors, and infinite colors are brought about by constant change.
In the fall of 2011 however, I lost my words after the death of a loved one. I kept silent. Words that had not been uttered floated in my mind, and I was not able to feel color. Temporary fleeting emotions came in and out quickly. I needed a few months to resume my work, and my perspective was of my inward world.
Taking notice of the possibility of visualizing emotions in my unexpected severance with daily life, I created a process of mixing colors to represent emotions in colors by associating 15-minute units of time with emotion. With this I work on ‘large painting’ based on ‘colors as the adjective’. No colors as nouns are presented in such paintings. As if speaking in the language of color, the paintings like uncompleted monologs are colors as adjectives revealing pure sensibility itself, rather than referring to any thing or being. Completed by viewers, the colors seem to attempt a calm dialog. I hoped with these paintings, analytically representing more profound emotions than my previous work reacting to the environment, I could overcome the desperate solitude of horizons that can never meet each other.
Color as Adjective
The general methods of making colors – physical, chemical, psychological, physiological, and aesthetic approaches cannot be thought of being practiced individually. I make color palettes with an intuitive sense, after mixing colors through a subjective approach as a comprehensive way of applying an adjective meaning to them.
Excluding referents, beings, things, and nouns, I document adjectives referring to emotional, psychological states according to the flow of consciousness. I also get rid of forgotten emotions and psychological states. I mix, record, and choose colors in two or three days or a few weeks, comparing colors on the board to emotions, anchored on a few words. Color emotions move between the conscious and unconscious. I document ever-changing color emotions every 15 minutes in an hour. The color I chose yesterday might feel different today, and the colors change depending on the concentration of feeling and psychology, but the colors mixed in a few days constantly change until they are named the colors of adjective concept. The masses of colors on the board show how feelings represented by words can be expressed in diverse colors, in each indigenous color-language.
Chosen colors are applied in monochrome alongside the characters of an adjective that seem to be embossed on the canvas. Laser-cut characters whose thickness is hardly sensed are glued onto a canvas completely applied with paint, and then paints are used to cover them repetitively. Detached after being completely dried, the characters appear with thin shadows, distinguished from them. As if whispering, adjectives replace the place from which images are removed.
In the fall of 2011 however, I lost my words after the death of a loved one. I kept silent. Words that had not been uttered floated in my mind, and I was not able to feel color. Temporary fleeting emotions came in and out quickly. I needed a few months to resume my work, and my perspective was of my inward world.
Taking notice of the possibility of visualizing emotions in my unexpected severance with daily life, I created a process of mixing colors to represent emotions in colors by associating 15-minute units of time with emotion. With this I work on ‘large painting’ based on ‘colors as the adjective’. No colors as nouns are presented in such paintings. As if speaking in the language of color, the paintings like uncompleted monologs are colors as adjectives revealing pure sensibility itself, rather than referring to any thing or being. Completed by viewers, the colors seem to attempt a calm dialog. I hoped with these paintings, analytically representing more profound emotions than my previous work reacting to the environment, I could overcome the desperate solitude of horizons that can never meet each other.
Color as Adjective
The general methods of making colors – physical, chemical, psychological, physiological, and aesthetic approaches cannot be thought of being practiced individually. I make color palettes with an intuitive sense, after mixing colors through a subjective approach as a comprehensive way of applying an adjective meaning to them.
Excluding referents, beings, things, and nouns, I document adjectives referring to emotional, psychological states according to the flow of consciousness. I also get rid of forgotten emotions and psychological states. I mix, record, and choose colors in two or three days or a few weeks, comparing colors on the board to emotions, anchored on a few words. Color emotions move between the conscious and unconscious. I document ever-changing color emotions every 15 minutes in an hour. The color I chose yesterday might feel different today, and the colors change depending on the concentration of feeling and psychology, but the colors mixed in a few days constantly change until they are named the colors of adjective concept. The masses of colors on the board show how feelings represented by words can be expressed in diverse colors, in each indigenous color-language.
Chosen colors are applied in monochrome alongside the characters of an adjective that seem to be embossed on the canvas. Laser-cut characters whose thickness is hardly sensed are glued onto a canvas completely applied with paint, and then paints are used to cover them repetitively. Detached after being completely dried, the characters appear with thin shadows, distinguished from them. As if whispering, adjectives replace the place from which images are removed.
2013@Lee Kyong
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